Dan’s Papers November 12, 2010 ARTS & ENTERTAINMENT danshamptons.com Page 44
ART COMMENTARY by Marion W. Weiss
“Cities of Peace” and Elizabeth S. Tyler at Guild Hall Everything is context. Or so some people think. It certainly is important in the current show at Guild Hall, “Cities of Peace.” Context is the pervading principle behind these works celebrating a metaphorical depiction of nine
worldwide urban centers. Such contexts consider how the language and culture of each city contribute to freedom and peace. There is also the context that we question as we look at each work. For example, does New York represent our “idea” of its characteristic language and culture? Context can be a subjective, changing element. For instance, a Hamptons estate may seem drab when compared to a King’s palace; our concept of Baghdad may depend on TV coverage of the war. On the other hand, an artist’s context may be defined by a lot of other aspects; the difficult part is selecting symbols and signs for a particular city that truly captures its generally accepted or “familiar” context. The creators of “Cities of Peace” (Ellen Frank Illumination Arts Foundation) have wisely and imaginatively stressed recurring motifs (like colors, text, gold leaf and configurations for paths and roads), which give coherence to the works. The use of space also adds to such unity. But one must look carefully to
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Sunday, December 5th • 4:00 PM Bay Street Theater, Sag Harbor
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P RE-MOVIE WINE & C HEESE GATHERING P OST-MOVIE Q&A WITH DENNIS AND DAN Starring The Hamptons, Billy Joel, Alec Baldwin, Dan Rattiner, Ed Burns, Christie Brinkley, Kim Cattrall, Chevy Chase and more
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“Monrovia: in Constellation” grasp these consistent “markers.” Consider “New York: This is My City.” Space is divided into above and below areas: different languages spell out the diversity of the “above” space (along with a bridge connecting the two spaces) while Manhattan buildings take up the “below” space. If one sees New York as spatially bound (which it is) and comprehends the above-below configuration as the main representation of this space, we can imagine that the images are “maps” or paths which lead to defined goals. “Kabul: I Love Her” also uses divided space, with the two areas seen from opposing points-of-view: the upper portion is a bird’s eye view; the lower section is a worm’s perspective. This suggests contradictions in the indigenous culture yet the entire work employs a brown color (like the landscape) signifying unity. Paths ar another motif. In “Monrovia: in Constellation” star patterns in the sky represent Liberian resilience. They also signify the journey that must be taken. The circle shape in “Baghdad: City of Peace, Truly” is defined by lines and markers as well. Finally, “Sarajevo: Here” bears the path motif again with golden lines connecting two separate spaces or images. In one space, we are looking up at the configuration; in the second space, we are looking down. Once more, there is unity. The images of Elizabeth Sloan Tyler (winner of the 2008 Annual Artists Members Exhibition) demonstrate unity as well with their brilliant, vibrant colors and exploding/imploding brush movements. The viewer is not quite sure where the images come from. Is it the sky, clouds or landscape that Tyler has captured? No matter. We are immediately drawn into the image and become a swirling mass or a tiny particle enjoying a great adventure. People may rightly admire the artist’s technique, but it is her works’ emotional power that counts. “Cities of Peace” will be on view at Guild Hall until January 16, 2011. Work by Elizabeth Sloan Tyler will be at Guild Hall until Nov. 28, 2010. Call 631-324-0806 for information.
Honoring
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immediate recognition). And let’s be practical; women whose partners were abstract expressionists were bound to be influenced by their spouses if they were artists themselves. We didn’t say they “borrowed” from their husbands, however, but we can’t be sure. For some of these couples, paths crossed in more personal ways. For example, Park and Brooks moved into the New York space where Krasner and Pollock had lived—46 East 8th Street. When Park and Brooks relocated to Springs, Krasner and Pollock helped them move in. Both couples became important contributors to the East Hampton art community. However, we ponder other questions about Park’s personal life. How was it to be the wife of James Brooks? How were her early paintings different from her later ones and was this determined by her husband’s growing success? Regardless of what has been left out of the details of Park’s life, the fact remains that her art is mesmerizing and valuable. This week’s cover demonstrates her connection with (continued on next page)