Patrick Neal and Fernando Rangel, Paintings and Photographs,
SBM Art Gallery, New York, NY, May-July 2012
Exhibition Opening and Cocktail Reception
Friday, May 14, 2010 from 6pm til 10pm
Patrick Neal / Paintings
@ Eric Wolf,
New York, NY 10025
Exhibition Open by Appointment through June 12, 2010
Contact Eric Wolf @ 212 866-8984
Inaugural Karene Faul Alumni Exhibition
June 5 - September 13, 2009
In celebration of the new Esther Massry Gallery
The College of Saint Rose presents the
Inaugural Karene Faul Alumni Exhibition.
Showcasing fine art alumni of the past 38 years.
Curated by Jeanne Flanagan
Closing Reception: Friday, September 4, 5:00-9:00 pm
Closing will coincide with 1st Friday in Albany, administered by the Upstate Artists Guild which aims to introduce a wider audience to the unique vitality of the artists and venues of Albany. 1st Friday promotes interest in the arts by making them accessible, thereby strengthening the arts community in Albany.
September 4th, beginning at 5pm til 9pm, featuring numerous gallery openings, one-night shows, local shops, restaurants, and live entertainment. Trolley transport available. Best of all, 1st Friday is an entirely free event.
The College of Saint Rose
Esther Massry Gallery
1002 Madison Avenue, Albany, NY 12203
Exhibition Essay by Rick Whitaker
Floors and Walls-New Paintings
The Chocolate Factory, Long Island City, NY, May 2007
If, as Clive Bell wrote in his early-20th-century essay "The Debt to Cézanne," that greatest of modern painters invented an instrument on which later artists may "play their own tunes", Patrick Neal has fashioned from it a prepared piano in which nuts and bolts and rubber bands are placed inside the grand piano making sounds newly strange, exotic, and fresh, enabling the composer to indicate with a conventional notation a panoply of noises that evoke the gamelan, music we in the West will never fully understand or appreciate, however much we may love its exhilaratingly chaotic-sounding productions. What we love most about the Tibetan sound is precisely its otherness, its distance from our own sound-world, and likewise one of the aspects of Patrick Neal's paintings is the sense they suggest of distance from an ordinary pictorial relation to the object. It's music, but it's not diatonic or modal or even serial. The harmonic gestalt is unique.
As I write this, I can hear 'music' from the simplest and folksiest of 'instruments,' a homemade wind chime bought years ago on a summer day from a farmer who had fashioned it from spoons, an ingenious little contraption that makes the sweetest sounds I know, the easy relation between weather and metal reminding me of the outdoors, of the wind, of the farmer, of summer, of the years gone into the past. Similarly, Patrick Neal's pictures evoke the natural world that lies behind Cézanne; they suggest both Aix-en-Provence and the unsettling aftermath, the world since Cézanne. By having come so close to his precursor, it's as if Neal has gone madly into the arena, and his paintings are the record of a struggle that is meant to disturb. The spectators want to see blood shed, and Neal's agon with Cézanne gives it to us in one picture after another. Painting for Neal is frankly competitive and ruthless, he tears off a piece of the past and masticates it before our eyes. Its exhausting and endless work. There is no clean success, no ultimate victory, there is no hope of overcoming or subduing the master, just as no writer has ever seriously entertained the feasibility of matching, let alone overtaking, Shakespeares breadth and depth. Writers do not even attempt it, it is a hopeless impossibility. And so it is with Cézanne, on whom no painter could conceivably improve. One is forced to do something else. Coping with his work of a century ago, for a certain kind of painter, is a shaming prospect. Thus the excitement we feel witnessing an artist like Patrick Neal's originality oozing out from the desiccated sac of the history of art. His paintings are re-inventions or re-visions, astonishing re-figurations of what cannot be other than already-seen. The paintings suggest that we are nearing the end of re-seeing, that these pictures have eked out whatever life is left in the particular kind of seeing known as painting. Perhaps it has always been so, perhaps Cézannes paintings appeared similarly final a hundred years ago in their statement of what the artist is capable of doing with pigment on a flat canvas. But there is something vertiginous about imagining a painter grappling, a hundred years from now, with Patrick Neal's bloody, battle-worn works of art.
Tastes of Mingled Palettes
The Boston Globe, Thursday, June 23, 1994
Tastes of Mingled Palettes
By Nancy Stapen
New Talent at Alpha Gallery, 14 Newbury Street, through July 8
For the buyer willing to go with his or her intuition, this is a great time of year to visit the galleries. Those with less-than-deep pockets can benefit from the crop of "new talent" shows, those yearly rituals at which galleries try out new artists with highly affordable price tags. Some of these hopefuls go on to artistic prominence; others disappear into obscurity. In any event, the wise buyer concentrates on finding that obscure object of desire.
The sovereign site of new talent is the Alpha Gallery, which is holding its record-breaking 26th annual New Talent show. Among the well known painters who premiered here are John Moore, Francis Gillespie, Richard Sheehan, Aaron Fink and Scott Prior. This year's group of five is a mixed bag; yet, though their styles vary, all are concerned with nature and organic form. They include older and younger artists; among the former is Beverly Floyd. Her abstract oils and collages of striped elongated forms, often labeled "Floating Gourds," evoke such natural phenomena as tadpoles or muscle tissue. Lodged in wide horizontal bands of muted color and partially obscured by gauze, tissue or blurred paint, they are veiled and elusive. They suggest something coming into being, or thoughts emerging to consciousness.
In Dennis Crayon's collaged fresco-like paintings, past and present collide. Seeming to be crumbling ancient fragments, the images are created via photostatic transfers onto plaster. Eggs and bunches of grapes are frequent motifs, combined with images of architectural sites, what appear to be computer chip patterns and (sometimes actual) tools. Some of the images of eggshells seemingly dematerializing are particularly effective; they evoke life's fragile beginnings.
Nature is fragile yet stalwart in Judith Bowerman's low-key monotypes of single plants, flowers or trees, which delicately explore aspects of texture and color. A seemingly gray-brown palette is leavened by pale yellow, and undertones of pink and magenta. The attenuated, isolated forms are offset by Bowerman's confident contours. She is an artist who doesn't shout, but hums.
By contrast, Patrick Neal's oil paint still lifes are busy with patterns derived from Islamic and Asian cultures. Still, their earthly rusts and greens maintains a muted mood. Neal tilts his objects upward; this spatial play is futher complicated by the regularity of the patterns played off against the lush leaves of randomly proliferating plants. In "Still Life With Islamic Pattern" the leaves curl near a vase painted with floral designs, a fluid meeting of nature and culture. Neal's images suggest that the 70's movement known as Pattern and Decoration is still alive for young artists.
The youngest artist and only sculptor, Bethany Bristow (who graduates from the Museum School this year), works in glass and mixed media. Bristow melts and distorts bottles in a kiln, creating objects reminiscent of the body, with a curious mix of tensile strength and enervation. Rope binds the forms, or, in works like "Bleed," emanates from the bottles' "orifices," suggesting seeping body fluids. Kiki Smith and Eva Hesse are clearly influences, but Bristow gives every evidence of developing a strong subjective voice.