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Lennon, Weinberg, Inc.

Drawing Rooms
- Additional Information -

This exhibition presents works on paper by three artists --  two painters and a sculptor -- who have long been associated with the Lennon, Weinberg Gallery. Using the room divisions of our space, each artist’s work occupies it’s own environment.

In the first room of the gallery, we will exhibit twelve watercolors by Carl Palazzolo (b. 1945) made in the last two years. Images are set into fields of luminous color, sometimes as collage elements but just as often in a trompe-l’oeil manner. Close-up views of eyes and glossy lips appear as if in polaroids taken by a stylist for a photo shoot. They are juxtaposed with images of flora or fruit along with an occasional bit of hardware. Palazzolo has harvested a vocabulary of motifs from his ongoing examination of admired art and artists, from the paintings of Manet and Johns to the films of Visconti and Antonioni, and makes it very much his own in these psychologically resonant watercolors.

The middle room of the gallery will house drawings by Denyse Thomasos (b. 1964). There is little that distinguishes Thomasos’ drawings from her paintings, as her tools and materials are the same whether she is working on paper or canvas. Lines made with brushes and acrylic paint are thick or thin, long or short, horizontal or vertical, straight or not straight. They gather into layered, cross-hatched units and describe volumes and layers of space. Drawings are more portable than paintings, and the works in this show owe their existence to Thomasos’ recent visits to artists’ colonies. The works on paper were made at the Ucross Foundation in Wyoming -- many reflect its stark natural landscape rather than the urban grids often apparent in other works. After experimenting on the studio walls during residencies at Yaddo and the MacDowell Colony, she will also exhibit a large wall-drawing publicly for the first time.

A single new work by Robin Hill will occupy the third and final room. She has made a large cyanotype measuring five feet high and running a hundred feet around the perimeter of the room. Hill "draws" with light by placing objects on chemically-sensitized paper which yields an image after exposure and development. An exchange between two and three dimensions is central to her work and occurs at several stages of the process. White plastic grocery bags have been unfolded and bunched up in a row down the length of the paper. The cyanotype process records their shadows as a flattened record of their shapes on the two-dimensional surface of the paper. That flat sheet takes on a third dimension again as it wraps  around and describes the volume of the room.

Please contact the gallery for additional information.




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