|Alison Berry: most recent painting. She has been omitting some of the intensive detail of her previous work|
and "letting color and shape take over."
|She invents her topographies, creating a cartography of imagination.|
This painting has a beautiful color range...and look at the value structure! She is a beautiful composer.
|An earlier work, that might recall some of the structural elements in Joyce Kozloff.|
Yet this work would look great with artists Robert Walden, Mike Childs and Robert Landsen
(Robert Henry Fine Art (56 Bogart St., Bushwick)
|A wall of Alison Berry. I love the dynamism of her rectangles.|
|Julian Hatton. He has been working a range of sizes, playing with paint applications and 'flat and full' forms.|
In this small painting (24 x 24?) there is a fine, brushy scumble passing over a copse of trees.
|The value structure of these works is built with full chroma-- so elegant.|
|Small "painting-drawings" Hatton has developed to limber up for larger works.|
|Another, small "painting-drawing," around 10 x 12 as a guess for size. |
My favorite 'sketch,' for its abandon and mark, in which the brush stops and pivots.
|A large landscape and small drawing-painting to the left. Horribly over-exposed. It reminds me of Picasso's "Night Fishing at Antibes" at MoMA (1939) in its coloration--but there is more depth and density here, summoning Matisse, among others.|
|A knockout big painting--loose, free, full of energy, as if Cezanne and Marsden Hartley had collaborated.|
|In the studio, a sense of scale.|
|Picasso, Night Fishing at Antibes, 1939, oil on canvas. Collection MoMA. 6 feet 9 inches x 11 feet 4 inches|