This exhibition features several recent paintings from Langs am’s long-running series of banded montages that set nearly monochromatic\, tightly rendered views of iconic modernist buildings on top of a band of g ridded abstract motifs inspired by classic modernist paintings and beneath ominously lit skies that invoke Romantic landscape painting.  The skies are \, in fact\, loose renderings (rather than transcriptions) of skies from Hu dson River landscape painting\, but they also uncannily recall the pre-Roma ntic Baroque skies of Giovanni Lanfranco (1582-1647)\, who himself anticipa ted Goya in his St. Augustine cycle.  This circuitous route of painterly ic onography underscores Langsam’s own “passion” for painting and Modernism\, where even Romanticism is revealed to be a construct with foundations appea ring close to two centuries earlier than what is held to be its historical moment.


The three spaces in her paintings are thematically linked a nd illusionistically self-cancelling.  The “landscape” is pure design\, the “photographic” Corbusier or Neutra house refuses to be illuminated by eith er the pattern below or the ominous atmosphere above.  Langsam has describe d this conflicted space as a “ ‘nowhere’ – which can only exist in the fict ion/reality of painting.” For Langsam\, this “nowhere” is symptomatic of ou r desire for unrealizable sublimities proposed by Modernist ideals.  At the same time\, she regards herself as just a susceptible to these same desire s.  A lapsing Modernist\, Langsam trades a narrow purity for enriching iron y\, while refusing to relinquish an ambition for a formal beauty and moveme nt. Painting\, for Langsam is a visual site for negotiating with her faith and disappointment.  Like a good nouveau realisme film\, her paint ings are funny\, sad\, and grand.

LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SUMMARY:Now(here) \, Julie Langsam END:VEVENT END:VCALENDAR