DAN'S PAPERS, June 25, 2010 Page 66 www.danshamptons.com
Arts & Entertainment
Art Commentary by Marion Wolberg Weiss
F-STOP at Southampton Cultural Center The Southampton Cultural Center is up and running with a new photography show as the season’s opener. Like all true cultural centers, it also features diverse art events, like plays and concerts. The East End is indeed fortunate to have such a place, especially one that offers a lovely view (across from a park) and an interesting physical structure. The Center conveys the idea that this is a building where people can enjoy the offerings; unlike some galleries, it’s also light and airy. Arlene Bujese, the exhibit’s curator, has wisely selected a show that complements this atmosphere with works that are “manageable” (meaning not overwhelming in size or color). While the subjects are varied, going from one photograph to another is pleasurable and easy. Speaking of variation, however, this critic does find a similarity among the pieces: a penchant for Surrealism. It’s not an obvious observation, except, perhaps, in the case of Warren Padula’s work. We will, therefore, consider Surrealism in the broadest possible way. For example, take Walter Schwab’s photographs, all of which we assume come from Schwab’s many trips to San Miguel de Allende, Mexico. They are, at once, mysterious and thought provoking. Most importantly, however, the images trick the viewer into seeing something that’s not there, thus the surreal quality. The series, called “Through a Glass Darkly,” positions the spectator as a voyeur, looking through a window at a church service. Yet we soon realize that it is a painting we are gazing at, not real people. That perspective changes with each photograph of the same scene. What’s also intriguing is the title of the series.
Walter Schwab, San Miguel Boy
While looking through glass can alter a view, it’s often one that is made more concise. However, Schwab’s images are not clear (literally and figuratively); they are rendered “dark,” meaning that both the view and the meaning are hidden. Warren Padula’s photographs are more obviously surreal, with displacement of imagery. Thus, objects and people are out of time and place; their juxtaposition makes no immediate sense. For example, Padula’s inanimate object placed in the frame with a chair in water causes us to attempt a connection. So, too, does the pyramid with the girl floating in space. Yet whatever meanings we may come up with, some seem illogical at best. No matter; that’s Surrealism. Marcel Bally’s “Fourth of July” series is bold and bright, bursting with imagery that is also illogical, one may suppose, but that’s the essence of fireworks. Yet can we call this somewhat surrealistic, too? We think so, if you imagine that this imagery is like a dream, configurations and events coming and going without our having any control. Finally, there’s Anne Sager’s photographs featuring airplanes and other structures that are, quite frankly, hard to identify at first glance. But that’s the beauty and art of Sager’s work. Her emphasis on lighting and composition turns ordinary objects into works of archetypical images. Even so, there’s a displacement in her pieces as well. Where are we? What are these shapes? (We wouldn’t know without the photograph’s titles.) We doubt if Sager were aiming for Surrealism, but it’s there. “F-STOP” will be on view at the Southampton Cultural Center until July 5. Call 631-287-4377 for information.
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