Skip to main content

THE ANGEL OF HISTORY


January 8-February 7, 2016

Station Independent Projects
138 Eldridge Street #2-F

Michael Alan, Michele Basora, Vincent Ciniglio, Roya Farassat,
Gentleman's Game, Norma Minkowitz, Alfred Steiner. 

The Angel of History addresses how artists are fascinated by the models of antiquity, and how they each in their own way engage with the iconology of the past as a means of creating the future. Cumulatively they fill the current historical moment with a wealth of imagery culled from the depth and breadth of their personal influences, their passion for figure, form, color, and detail, and their perspective on how the past builds the present with the future always a sidelong glance. Making work that is both historically significant, idiosyncratic enough to be considered a personal signature, and accruing meaning in a contemporary context are all part of the appeal of such work. Establishing the appeal of timeless genres such as narrative or iconological representation that are inherently mythical, either in a scene or the depiction of an effigy or symbol, collaged, drawn, etc

The artist has repeatedly been caricatured as a sneering rebel, living an existence parallel to but remarkably different from everyday society. What truly differentiates the artist from others is their ability to penetrate the fabric of the real or the normal and perceive its connection to myriad influences, many of which can only be found by looking into the past. So much has been made, via Modernism, of the concept that the artist just necessarily be concerned with, as Ezra  Pound said, "making it new," that what is left unobserved in their cumulative oeuvres is where their influences, and their very specific affinities, originate. Each of us brings a legacy from our background to bear upon our aspirations and accomplishments. But the artist is able to look beyond personal drives to seed the field of imagination with subjects and methods that set them apart from other creative individuals. The ferment of communal or epochal values leads each one through a labyrinth of means versus ends.   

 


     Gentleman's Game




     Roya Farassat




     Michael Alan




       Alfred Steiner




          Vincent Ciniglio



Comments

Popular posts from this blog

INTO THE LABYRINTH: VIDEO ART BY GRACIELA CASSEL

Art grounds us in an experience that achieves the imprimatur of truth by combining appearances with layers of artifice. Nowhere is this more evident in an art form such as film that relies heavily upon the senses. Graciela Cassel’s films explore the phenomenological dimensions of urban space: the labyrinth of structures both physical and ephemeral. A city presents itself as a massive and endless procession of edifices either near or far, of streets either pristine or decrepit, and of an endless train of strangers who may, in any given circumstance, emerge from anonymity into intimacy with us. Every distance and every dimension of city life offers up myriad possibilities for future experience. This is why they are easy to romanticize, and why they also contribute to a mythology of creative means. Each of her films begins with a central motif, either a real object or place, or some sensory experience that she is attempting to replicate or synthesize. The situation of spectatorship begi…

A BEAUTIFUL NOISE / THE ART WORK OF AMY SANDS

The art of Amy Sands presents models by which we may interpret the primordial structures and charismatic energy around us. A certain approach to artistic creation belies a felicitous understanding of what is most essential, misunderstood, or obscured in nature, and redirects it to our aesthetic comprehension. Printmaking is about process, and each of the names that are given to the types of prints carry with them the association we have to a particular process and its resulting product, which carries with it the aura of action that preceded it. Yet complexity can enter into the welter of intentions that aid in the conceptualization of these works. If the artist has ideas about her final product that carry over from other creative disciplines, such as sculpture or lace making, then the proliferation of stylistic motifs will dominate the work’s appeal, and will diverge from the assumption of traditional print making practices. This sort of dynamic is actively present in Sands’ work, and…

SHADOWBOXING WITH TITANS: THE WORK OF DANIEL SEWELL

The contemporary artist, given a particular education and overall attitude toward what is considered historically important today, may struggle to communicate in terms that challenge them formally while at the same time addressing the need for a creative language. They may find themselves reacting to the scene overall or to specific artists who are lauded as the paradigmatic models for ‘quality’. In this situation, one expects to compete not for a position of mastery, or to produce a new generational legacy, but only to hold onto whatever degree of notoriety is bestowed upon them. Although genius is still a prized quality, it has become a quantifiable commodity, and not the ambiguous measure of idiosyncrasy that it once was. It becomes necessary for the artist of vision to look back upon art history for cues as to how to express oneself. In the case of Daniel Sewell, he chose Cubism as a creative language to reinvigorate a contemporary dialogue on form, esthetics, and the uses of hist…