On a recent trip to NYC we stopped in at Berry Campbell on West 24th, to see the Syd Solomon (1917-2004) exhibition – which was the highlight of my very limited time in Chelsea. An abstract expressionist, his work involves and energizes space.
The paintings are perpetually sensuous and enigmatic – full of life, colour and questions. His paintings lingered in my mind – I loved their chunky organic vibrancy. See more of his work here on the Berry Campbell website: https://www.berrycampbell.com/
You can also watch a short film about Syd here: https://youtu.be/eogAWjbwcq8
And I would be remiss if I didn’t let you know that Syd’s work is rumoured to be shown this fall at Guild Hall, East Hampton. You can check in on Guild Hall’s listings as they arise here: http://www.guildhall.org/
Thank you Syd Solomon, I wish I could have met you!
As with much of my work exposure to other artists, writers (at this moment critic Jerry Saltz comes to mind as does academic Arden Reed who recently wrote about “Slow Art”) theorists and curators plays a role in shaping future work. So I wasn’t surprised when Syd’s bold work began sifting through my brain, which is always, coincidentally, populated with ecocentric thoughts: Where are we going? What’s happening to the planet? How do artists and designers communicate ideas related to anthropogenic change and planetary fate?
Select articles by Jerry saltz here: http://nymag.com/nymag/jerry-saltz/
You can read the first chapter of Arden Reed’s book for free here: https://content.ucpress.edu/chapters/12925.ch01.pdf
The “cause” of charismatic painting would have us believe that nature, for the most part, exists in a perpetually unblemished state. Of course, in reality, anthropogenic disturbance has cast a pall over all of our planet’s ecosystems. Nature is not unhinged and separate but connected and affected.
Ecological art may be distinguished, in part, by its “ethic” – it’s trying to affirm a form of conduct that would have us behave in ways that do not harm the planet. How should such art inform? By capturing beauty? Or through direct reference to the threats we cause? Perhaps it is both. But can we live with art that hints at our future nostalgia?
How many of us have beautiful distractions on our walls – and is this enough?
Here, in this painting, the shadow of urbanity casts its long shadow on a distant coral reef.
The diptych, when the two images are put together, looks like this:
Please feel free to get in touch or share your thoughts.