Event  |  Reviews  |  Comments
Diagonal , 1965 Acrylic On Canvas 60 X 70 Inches © Stephen Haller Gallery

542 W.26th St.
New York, NY 10001
January 10th, 2009 - February 14th, 2009

Tue- Sat 10-6
mixed-media, photography


LINDA STOJAK'S paintings may be thought of as "psychological self-portraits." Her iconography is the human body. Her work emerges out of a great tradition of painting and yet stands as uniquely her own. Linda Stojak's paintings are an exploration of the very essence of what it is to be human. Her work is a highly charged yet subtle exploration of the personal, characterized by immediacy and a palpable painterly quality, and marked by a disquieting beauty.

American painter RON EHRLICH is known for achieving rich surfaces and subleties of tone melding the techniques of vessel-making with the spontaneity and vitality of action painting. Years spent in Japan studying the art of ceramics at a monastery profoundly influenced Ehrlich's approach to painting. The gifted colorist uses a blow torch among other techniques to meld parts of his paintings in an intensely sophisticated palette. The exhibition includes two paintings from Ehrlich's recent exhibition at the Sordoni Gallery at Wilkes Barre University. Critic Dominique Nahas wrote: "At the heart of Ehrlich's work is its ferocious daemonic energy which pulsates throughout the work."

The exhibition includes two key paintings by the late artist LARRY ZOX, a master of color and form. Zox's signature style - the splicing of a color field to give the sensation of shifting planes has evolved into the graceful looping patterns of his more recent work. This 1965 painting, Diagonal 1, is from the Rotation Series similar to Zox's iconic Orange Time, which is in the permanent collection of London's Tate Modern. Zox's work is represented in the collections of MoMA, the Metropolitan Museum of Art, the Guggenheim Museum, Hirschhorn Museum, and Whitney Museums among many others.

In his paintings LLOYD MARTIN deals with the transformative nature of time and use, the alterations of the original aspects of his environment - the post-industrial urban setting of his studio. Martin begins his process by photographing his immediate surroundings, yet that influence may be detected only in a color situation or a spatial metaphor. His compositions reflect synthetic rhythms such as the serrations found in ventilation or heating units, or alterations of architectural situations. His work reflects the pleasures of symmetry as found in nature or the constructed.

In the Washington Post, art critic Stephen Parks characterized the paintings of JOHNNIE WINONA ROSS as "extraordinarily beautiful and complex objects that evoke a humming meditative state." Douglas Dreishpoon, Chief Curator of the Albright Knox wrote in the Foreword to Ross's monograph: "The balancing of divergent realms, fraught with tension, is a salient characteristic of this work, where temporal forces, like imaginary rivers glimpsed from the heavens, surge beneath plains of pure light".

Austrian-born JOHANNES GIRARDONI'S newest work incorporates the use of enamel, plexiglass, encaustic and wood creating a "structured painting." Peter Lodermeyer, in the recent Girardoni monograph, writes of his work: "Opposites and contradictions, as well as the complex dialectic between them, are Girardoni's fundamental themes... Border experiences and their dialectics as an artistic theme are no contrived, theoretical matter for Girardoni, but constitute structures that are deeply anchored in his personal experience."

Exciting new photographer, KATE O'DONOVAN COOK, is both model and photographer in this work which conflates art history -the timeless subject of the female nude digitally captured in the quotidian blur of a life class. Her work is characterized by explorations of identity through role playing in ways both theatrical and fantastical, often creating a quality of strangeness.

GREGORY JOHNSTON'S work contains suggestions of calligraphic gestures. Critic George Melrod called these Johnston's "icons of textual beauty." Johnston divides his canvas into formal, almost architectural drawing. These paintings represent the mature work of an artist The Wall Street Journal heralded as one of the emerging success stories of his generation. Johnston says of his work: "Every painting is a relationship within a relationship within a relationship, and structured much more like a novel or a piece of music, than the incredible open-endedness of a painting on a picture plane."

French-born artist MICHEL ALEXIS explores language and the written word in his work. Painting and incising marks through the surface of gesso-soaked paper-on-canvas he constructs an evocative new language of the imagination. His use of nearly transparent paper in pale skin tones toys with the provocative, the transgressive, and the playful. Critic Jonathon Goodman in Art in America wrote of Alexis' work: "The mystery of the painting is considerable; it is as if the artist has worked out a primal language of abstraction that makes sense on an intuitive level."

Louis Zona, Director of the Butler Institute of Art, wrote of RONNIE LANDFIELD'S work in the catalogue to his recent retrospective there: "No one exploits color as effectively as he does and few artists possess such a natural sense of organization, where every mark, every shape appears perfectly placed. To stand in front of a Landfield painting is to be transported into a world where color feeds upon color and every inch of the canvas is considered." His work is included in the permanent collections of MoMA, the Whitney, the Metropolitan Museum of Art, the Art Institute of Chicago, and the Hirshhorn, among many others.

A distinctly fresh new vision has emerged from artist NOBU FUKUI'S own experience spanning two cultures. Born in Japan, yet for many years a part of the New York art world, Fukui has a very contemporary sensibility steeped in the iconography of popular culture that appeals to both East and West. Oil paint, acrylics, three-dimensional beads, collage, an allover grid of graphite, these are some of the ingredients of his exciting new work. In a feature article in Art in America critic Carter Ratcliff writes: Fukui "blends a virtuoso control over his materials with an inexhaustible willingness to improvise."

KATHY MOSS uses biomorphic forms as intriguing metaphors. Moss employs a meticulous technique to create paintings that are at once intellectually provocative and sensuously appealing. She plays in subtle and sophisticated ways with her subject matter while maintaining a remarkably painterly quality