Opening reception Wednesday November 28, 6:00–8:00
Our October 2018 “ALL ART + Kunstfest” was a great success, bringing in more than 200 people to the opening reception. Now, in “Call of Walls,” we’re continuing to exhibit new work by artists we already love along with entries by artists who are new to us. The street-level floor of the gallery is devoted to the mixed group of artists, while the downstairs space belongs to Konstantin Bokov, our favorite master of found materials.
For eccentricity, Bill Green, “a square man in an otherwise round world” has brought white-on-black scratchboard-style drawings that corrupt the usual platitudes about desert loneliness and cowboy tradition. Rahza Dezmen throws up the topic of painting as a kind of challenge in which thickly-brushed shapes seem to wrestle with each other, with no certain winner. Yorgos Giotsas’s mixed-media collage “Democracy is quite uncertain, it looks like a burning flag” seems to comment on sudden, silent disaster. Reuben Gordon fulfills his tantalizing promise that “my work concerns what it means to be alone” in his poignant “Infielders” painting. Even baseball has pathos in the right hands.
Leonardo Lanzolla’s “Creature Tower Spiritual Impulse” is a tiny powerhouse of a painting depicting a catlike being that seems to have just eaten a human soul. It harmonizes with the tilted world of Suzan Lizotte’s “Capitol Building,” possibly a comment on our current topsy-turvy government. Anna Magtoto’s seething “Vulnerability Becomes You,” Elizabeth Mead’s “Excerpt 10 Williamsburg,” and Mauricio Paz Viola’s “Identity Series #5” all suggest an underground source for rebellious and intimate new work. Finally, Jason McLean’s drawings evoke both Saul Steinberg and Keith Haring in one breath.
Brigid McGivern’s minty Joan Mitchell-esque “Garden” and Lisa Beth Older’s knifed-on “En Vol Carousel” seem to have arrived on the same psychedelic delivery truck. Denis Ouch’s “Cult. Warhol Layers” is exactly what the title suggests: a Cliff’s Notes version of Pop Art hits. Maria Redondo’s scratchy, whispering drawings belong to no existing category, unless “Portraits Inside My Head” is now an accepted theme.
Fred Gutzeit depicts the motion of ephemeral forces—the flow of water, the movement of a hand as it writes—in complex, large-format paintings that prove that delicacy and identity are connected. Nicole Kueck creates ethereal, abstract works that morph before your own eyes, erupting an immediate emotional connection and mystical experience.
In the downstairs gallery space, Konstantin Bokov always seems to be limboing a folk art boundary. Bokov doesn’t seem to mind coming dangerously close to hanging himself up on quaint aesthetic standards—but he always manages to escape. His new set of assemblages is made entirely of objects found on the street, decorated in his lapidary style. The found guitar has an eye in the middle, the skateboard has a clock and two horses on it, a marvelous cat wears a mustache made from a scrub brush. All are painted with impasto lines and tiny dots that make them seem perforated with tiny, winking lights.