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Showing posts from November, 2014

Gloria Garfinkel "Origami Interpretations" at The George Walter Vincent Smith Art Museum, November 18, 2014–April 26, 2015 -- Review by David Gibson

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The nature of inspiration is intertwined with idiosyncrasies of chance. When something as simple as an air flight layover leads an artist to encounter a single image that alters the course of her creative endeavor forever, one cannot discount the idea of fate. In the case of Gloria Garfinkel, this circumstance led to an ongoing body of work at The George Walter Vincent Smith Art Museum in Springfield, Massachusetts. Garfinkel’s discovery and continued reckoning with an unusual work of art by 16th Century printmaker and painter Utagawa Hiroshige led to an esthetic grounding that motivated her to produce ten successive groups of work; each continuously revisited the traditional modes of Japanese art and design, especially those that have informed modes of dress including the kimono and the obi, a sash used to close it, which itself has different social and economic associations.

Since that day, Garfinkel has devoted herself to an esthetic suggested by Japanese art and design. Her inspir…

Rob Mango "A Retrospective" curated by Robert Curcio at Elga Wimmer Gallery, New York, November 6-29, 2014

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The dozen works which comprise the retrospective of Rob Mango each in their own way represent a watershed event in the artist’s development or life experiences that he unknowingly shared with others. If the artist is the representative idealist for our time, believing in ideas and manifesting expressions that are purer and more primal than the product of any other industry or milieu, then Rob Mango is one of the best versions of such a figure. His work is emboldened by the idealism associated with formalism, its relevant social conscience, and a measure of idiosyncrasy, all without equal. Each of the works on view has a specific story to tell.
The Superman Theory (1984-88), is both a cabinet of curiosities and a hall of heroes. It occurs quite early in Mango’s artistic career, shortly after he first moved to New York, a period when he was momentarily breaking with the realistic painting that was his known métier in order to allow himself to be influenced by an alternative set of esthet…