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Showing posts from July, 2009

Gustave Caillebotte at the Brooklyn Museum | Review by Jill Conner

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Impressionism and the throes of the Industrial Era could not be further away from our own technologically advanced reality. By sheer comparison the figurative style of times past pales when juxtaposed to the number of mass-produced images that flood us daily. However the Impressionists had something that very few artists have today: the opportunity to revolutionize the picture plane by rejecting the established method of painting, as taught at the École des Beaux-Arts, in favor of something more casual, more spontaneous. Since the Impressionists collected together numerous times to assert their own solidarity against the Salon, creating the Salon des Refusés, these artists were the new radicals and still are. Most of them struggled while living out their own convictions of what painting should depict. Yet their fascination with daily life, to capture it as it was, opened painting to the world, freeing it from the grip of the French aristocracy. The Brooklyn Museum's exhibit…

Carol Salmanson at Mixed Greens | Review by Jill Conner

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Diaphany (2008) by Carol Salmanson took advantage of the short days during the last fall and winter and appeared inside the windows of Mixed Greens Gallery. Salmanson's piece sought to give light art, and light sculpture, a different context by connecting it to the city's urban terrain along West 26th Street, between 10th and 11th Avenues, by allowing viewers to observe from afar. Similar to the medium of sound, light is not itself an object that fits easily within the scope of conspicuous consumption. Additionally Diaphany reduced the spectre of light to a series of colorful, intersecting surfaces that seamlessly piece together an abstract image that harkens back to Piet Mondrian's abstract geometic painting titled Broadway Boogie-Woogie. (1942-43)


Glimmering Grove, 2007


For this particular project, the artist utilized an array of technologies that were couched within a long, narrow space roughly 2-feet deep. Yet, the visual effect that Salmanson created easily gave o…