Suzanna Fields' art calls to mind biological forms -- plants or animals seen in close-up, or even under a microscope. Yet the bright primary colors might make an observer think of candy.
By Rick Romancito Nothing can be expected to emerge fully grown. No movement, no grand conceptual challenge, no vision is complete without a sense of what came before.
Inside the Getty Center exhibit "Pacific Standard Time: Crosscurrents in L.A. Painting and Sculpture, 1950-1970," there is a monumental striped painting that gives the illusion of the Southern California sky at dusk. The 1976 piece, titled "North Face," is the work of the late Pasadena artist Norman Zammitt, who created collages and abstract paintings inspired by the landscape. And until very recently it hung above a bed from the ceiling of a 1,150-square-foot Encino condominium shared by Leon Gazarian and his fiancee, Monique Powell - an art-collecting couple with an eye for groovy finds and modernist design.
What many casual observers of abstract art don't understand is that abstraction doesn't mean a jumble or confusion or haphazard swiping of paint on a surface. The essential trait is an underlying structure that lends even the headiest or seemingly most chaotic work - for example, pieces from the classic period of American Action Painting by Jackson Pollock or Willem de Kooning - a sense of strength and inevitability. Perhaps only the artist truly comprehends that structure's subtlety or full import . Such thoughts arise from looking at abstract paintings displayed this month at local galleries. Let's begin with Lisa Weiss at L Ross Gallery, through April 30. Called "Common Thread," the exhibition includes five pieces by Lisa Weiss' father, Anton Weiss, a distinguished abstract artist wh...
For Josh Dickman, communicating with others has never been easy. He was born with developmental disabilities, making speaking and listening difficult. So he found a different way to express himself. Josh's artwork has become his voice. His abstract paintings, most notable for their use of color, are on display this month at the Ohio Township Public Library System Central Branch, north of Newburgh.
Al Loving, an innovative abstract artist whose work evolved from geometric paintings to colorful collages and murals, has died. He was 69. Mr. Loving died June 21 in New York's Memorial Sloan-Kettering Cancer Center of lung cancer.
There's no denying that David Comstock's abstract paintings are attractive, though to say that they're easy on the eyes would perhaps stray into the area of condescension. The title of his exhibition, "It's Not All Black and White," at L Ross Gallery through Feb. 28, refers, first, to the artist's development away from the all-black-and-white paintings he produced a few years ago and, second, to the notion that most issues, art included, should not be seen strictly in terms of "black and white," as the saying goes, but as more nuanced propositions.
If you happen to be in Dayton during the Spring Urban Nights Extravaganza on Friday, then you can take your curiosity to the south edge of the downtown to see the works of a self-taught artist, Greg Tobias. He is presenting 26 new abstract paintings at 250 Warren St., which will eventually be the relocated site of Coco's Bistro, which is still open at Wayne Avenue. The paintings are done, but Coco's future home is not quite finished.
One of the best compliments Mark Wethli heard about his recent series of small paintings came from a friend who remarked that Wethli's colors were hard to name. What appears at first glance to be red might actually take on an orange hue, or perhaps violet, the friend said. Likewise, a color that seems bright and clear one moment reveals itself as darker or duller the next.
One doesn't expect to go into an exhibition of abstract paintings by Don Estes and be greeted by splashes of color, but in "Prosody," at David Lusk Gallery through Nov. 26, the artist reveals a radical transformation of his manner that includes far more color than he has employed in many years. Meanwhile, a few blocks away at L Ross Gallery, Jeri Ledbetter continues to refine her technique and extend her reach into cryptic yet potent calligraphic gestures in "Passeggiata," through Nov. 29.
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