Category: Gallery (Page 1 of 2)

The trek up to the Flomenhaft Gallery was a tough one- strong winds and wet grounds discouraged us from enjoying the walk, but once we entered the cozy warm building, I was instantly myself again. Hidden among all the other art galleries on the block and tucked under and beyond the High Line, it’s easy to overlook the tiny little building, but once I entered the lobby, I was struck by how clean and wide the space looked. It was grim and dark out on the streets, but once we walked up the stairs to the second floor gallery, I was pleasantly grateful for how warm and bright the studio was. When we entered the doorway, Ms. Flomenhaft was also kind enough to walk us around the studio and give us detailed explanations of the exhibit and each piece and the artist behind the paintings. What really struck me was the depth of knowledge Ms. Flomenhaft had about the artist, as well as the art subject. The ease with which she explained each piece was impressive and helped me develop an interest in the exhibit.

The artwork that most stood out to me was Flo Oy Wong’s pieces on “paper people.” Various books and textbook knowledge have taught me about the early Chinese immigrants’ struggles in western United States, but seeing them on display is a totally different learning experience. I have a deeper interest in this subject because I’ve learned of the injustices early Chinese, as well as German and Irish immigrants faced when they first settled in America. They were persecuted primarily for their ethnic background, and at a certain time period, these groups were even prohibited from immigrating here, which contradicts America’s own principles on equality for all. However, history should remain in the past, and what’s important is these artists who have taken a creative approach in retelling history through their artwork.

Beverly Buchanan, Ferry Road Shacks, 1988 Oil

At first glance, it looks cartoonish and childish, something a kid would draw for his parents or for art class, not a professional painting. When I looked at it at first, all I could think was who would pay for such a painting and who would hang this up in a gallery? However the longer I looked at the painting, the more and more it began to impact me. Firstly, I began to imagine the story behind the painting. For example, who lived in these shacks and what was the quality of life. I pictured a large family gathering around a small table crowded and cramped, but full of love. I also imagined the love and affection the family members felt and how living in such close quarters has brought them closer together. Also, I imagined how hard it must have been living there and how I struggle sharing a bedroom with my brother. The longer I looked at the photo, the more I noticed how each part of the painting serves a purpose in influencing your perception of the story behind it. For example, the color signifies the passion that people living in these “shacks” feel for each other and how the childish style of the painting signifies the innocence of the people living there. After doing some research, I found out that the painter of this painting was Beverly Buchanan. On her way home from a vacation, her parents made a wrong turn and got lost. There she saw what looked like shacks and thought about who lived there and what they grew up to be. Pleasantly surprised, she found out that many of the residents of these shacks turned out to be doctors, lawyers, and businessmen. When I did the research and found out that this was true, that extremely successful people grew up in shakes smaller than some rooms in some houses, I couldn’t believe what I was reading. However, the more I thought about it the more it made sense living so closely with so many family members, these people had so much support growing up. As you can see even though this image is amateurish and even childish, it has a dramatic impact on the person looking at it if they take the time to look closely and really think about what they are looking at.

Review of Flomenhaft Gallery Art Show

Rimma Gerlovina and Valeriy Gerlovin

When I walked into the gallery, the very first art pieces I saw were those of Gerlovina and Valeriy Gerlovin. Three very beautiful and mysterious pieces too realistically captured to look like a painting, hung side by side in the corner of the gallery. All three of the art pieces captured the face of a young, white woman; the same face in all three pieces. There was always some sort of symbol on her face—a bird, a Greek-like letter and in the last painting, a spiral line and around it the roman numerals: XII, III, VI, IX.

In one of the pieces, the woman had a bird tattooed on her forehead. Her face was covered with braided hair aligned to form some sort of helmet. To me, the hair was to represent a helmet, like the ones hockey players wear to protect themselves. The bird was a manifestation of freedom; the woman in the art piece wished for freedom but wants to protect herself from the possible dangers of the outside world. I told my interpretations to a classmate who pointed out that the hair I was calling a helmet resembled a torture mask he saw in a museum on his trip to Berlin. And I thought, but why the hair and the braids? Hair, representing beauty could be the “torture mask” that is keeping women, in general, from being who they wished to be. I connected this with the stereotype that women are supposed to be beautiful and behave in a feminine way and how that might be suffocating.

The second art piece was of the same woman. Her hair in the artwork was not braided but instead, loose and created a veil over her face with an indecipherable symbol tattooed onto her forehead, similar to the way the bird was drawn onto her face in the first work. The way she is letting her hair cover her face reminds me of the way I would let a section of my hair cover part of my face when I don’t want the professor to notice me to answer a question. Her eyes looked somber and she is glancing down. Because I couldn’t understand the symbol, I could not understand why she was letting her hair dangle in front of her face.

In the last piece, the girl had a spiral line and around it the roman numerals: XII, III, VI, IX drawn on her face. The roman numerals were those on a clock—12, 3,6,9. I interpreted the piece to represent aging and with it comes deteriorating beauty. I also saw it to represent a woman’s biological clock and the fear that comes with becoming too old to have children.

After I made my interpretations, I researched the artists. The two artists, Rimma Gerlovina and Valeriy Gerlovin were leading proponents of the Samizdat art movement, which was formed to circumvent official censorship in the former Soviet Union. Rimma’s face is central to the artworks, which are photographs. They are used for personifications of different stages of psychological and visionary experience (“Fabric of America”). “By presenting visual and textual conundrums, they invite the viewer to participate in unraveling the paradox, thus forming a bridge to spiritual and mystical transformation.” (Sloan, Curator)

The first photograph was captioned, “Bird: Self-enclosed spirit, or beating against the bars of one’s own mental cage.” Here, freedom is personified into a bird and this sense of freedom is trapped behind the bars of a mental cage, which could symbolize fear. It is very interesting to compare my interpretations with the artists. The second photo is captioned: “Real: seems from behind our own veils. It is only when we wake from a dream that we know we have been dreaming.” I looked at the complex symbol on the photo again and I begin to see the letters that spell out “Real.” Gerlovina and Gerlovin plays with the concept of fantasy versus reality and implies that only a thin veil separates the two dimensions and how things may not be what they appear; “it is only when we wake from a dream that we know we have been dreaming.” The last painting by the artists is captioned, “Spiral Clock: It is believed by most that time passes; may be it stays where it is. ‘Never was time it was not.’” The phrase, “Never was time it was not” seemed just as perplexing as the photo.

All of the art pieces at the art gallery were beautiful and breathtaking. I enjoyed analyzing the works and asking myself what the artist wanted to convey in his/her work. It was also interesting to hear different classmates’ interpretations on the paintings as well because there is no “correct” way of interpreting art.

The Flomenhaft Gallery 

The Flomenhaft Gallery combined the works of many immigrant artists from many cultures such as those of  Native American, Japanese American, Chinese American, African American, Indian American from Mumbai, and Russian Émigré photographers. Each of the artist well portrayed their stories.

Although many stories of the artwork were memorable, I personally remember JauneQuick–to–See Smith’s story the most. JauneQuick–to–SeeSmith is an internationally renowned artist who was born on an Indian Reservation. Every student should remember how unfairly the Native Americans were kicked out of their lands and sent into reservations to more or less wipe them out. Her work that was displayed at the gallery included socio-political commentary on her people’s painful story. The dots on her work caught my eyes and it was explained that they represented the smallpox that Smith’s people received through the blankets they were given. When Native Americans died through small pox, the Americans took their blankets to give them to others on reservations. It was unfortunate that the Native Americans had to risk using the blankets because without the blankets, they would die from the cold weather before they even get the pox. This was essentially done to kill as many of them.
America is nation of immigrants, and as an immigrant myself, I tend to forget that I am where I am because of what people before went through. Immigrants these days seem to take our rights and freedom for granted without appreciating what others have done for us to allow future immigrants to live quite comfortably on this land. However, through this gallery exhibition, Fabric of America, it reminded me of the history and to be thankful of the things I am given. I really enjoyed the experience.

Elijah Blumofe

Gallery Reflection/Review: Siona Benjamin’s “Lilith”
Siona Benjamin has become acknowledged and lauded among artistic circles for her portrayals of multiethnicity as identity, forged from her own experience as a Sephardi Jew living in religiously cacophonous India (where she was surrounded by Hindu, Buddhist, Muslim, Sikh, and Farsi Zoroastrian communities). Her worldly motifs and imagery are reflected in a predominantly feminist vein, and it has become her signature to develop pieces centered around stunningly azure viragos, reminiscent of Hindu goddesses, yet often exhibiting traits of one or more other cultures in vivid and engaging contrast. This piece in question, titled “Lilith” (written in Hebrew script in the foreground) is one of a series of works that utilizes this technique, as well as exemplifies her preoccupation with controversial female figures (Lilith being a favorite subject of hers, whom she represents often in her work).  In the painting, the Lilith figure is engulfed in flames, clad in striped prison clothes and a nun’s habit, and placidly sits cross-legged in a fertile garden, where she waters what appear, from a vertically cut side view, to be mythical mandrakes (if not actual fetuses).  The mandrake babes, rooted below the strikingly crimson earth, are the most obvious and drawing feature of the piece, and correspond fittingly with the midrash surrounding Lilith (begging the ominous question of what Lilith intends to do with these botanical infants), and certainly conjure a sense of the macabre, yet I find of particular interest the fire which surrounds Lilith—red at it’s core, it graduates to yellow and finally to green, evoking an almost none threatening multi-chromatic splendor, and giving Lilith an aura of fertility and grace. From this, we may gather that Benjamin intends to portray Lilith as a matronly, life-giving force (rather than simply a demonic harvester), and a strong female figure who has perhaps been improperly represented throughout history (this sentiment too is alluded to by her prison garb, a classic symbol of oppression). In short, “Lilith” is a riveting piece, and a refreshing homage to biblical literature, which invokes the cross-cultural universality of symbology, civil issues, and belief systems.

In this acrylic on canvas painting, I loved how Shimomura stood out among all the Disney characters surrounding him. Oddly though, the painting’s colorful clutter conveyed an image of horror. The sharp, 2-dimensional contrasts of the cartoon characters against Shimomura’s horrified expression and body posture shows that he believes Disney stereotypes are suffocating.

As I looked closer, Shimomura is the only 3-dimensional object in this painting. This shows him in a more realistic light than the cartoons. The cartoons are seemingly innocent when looked at separately, but together, they are closing in on Shimomura. Shimomura is trying to illustrate that each Disney character contains its own stereotypes against a certain race, and they are all haunting and hurtful. The attacks on race and ethnicity are especially relevant to Shimomura because he spent two years in an internment camp for Japanese Americans during WWII.

The paintings include Disney characters such as Mickey Mouse, who has a green skin color, and is wearing an Indian headdress. Donald Duck is wearing a Chinese straw hat. It also includes characters like Bugs Bunny, Popeye, and the three little pigs. Shimomura incorporates traditional Japanese Ukiyo theater performers too. A female Ukiyo performer is painted bright yellow, probably as it is portrayed in American shows, which mocks Asian skin tones.

As an Asian-American myself, I have never noticed stereotypes when I watched Disney shows as a child. However, when I started growing up, I did question whether they told children subliminal racist messages or confirmed them to older audiences. Shimomura is aware of the danger of these stereotypes in Disney productions, and transfers these feelings of dismay and dissatisfaction onto canvas.

The painting is quite similar to another one of Shimomura’s paintings called “An American Knockoff.” In the painting, he is punching into the air with a myriad of Disney cartoon characters behind him, all of which are wincing or show a hurt expression. This is Shimomura’s show of empowerment and his fight against American stereotypes in children’s media. As he says himself, the works are his “attempt to ameliorate the outrage of the misconceptions.”

I liked this painting because of its combination of natural and mythological imagery. The woman, presumably some kind of nymph goddess tends to her underwater flock. She nurtures and pollenates the many creatures with her far-reaching powers. The Phoenix she is able to summon surveys the outside world for her and acts as an intermediary between the two realms. She could also be protecting the bird from the sea creature that appears in the bottom right hand corner. It looks hungry. Tears of some sort descend from the ocean surface which all the creatures seemed fixed on. I like the association with ancient civilisations like Atlantis that figure prominently into this type of lore. The artist likes to combine two very different types mythological history. From my limited knowledge of Indian/Hindu legend there doesn’t appear to be much association with the maritime tradition. The obvious Hindu influence on the female figure makes her seem out of place but the background is adjusted to accommodate that. The colors or the woman and the bird are striking; they pop out like nothing else. Her arm becomes one with the bird as it searches for the surface. A potential metaphor for purity and salvation from the depths of the ocean. She appears to the origin for some of the oceans plants which flow from her dress. They all curl like her arm towards the surface searching for the light they need. She’ll have to return to the palace looming in the background. As the guardian of life in the ocean she has many responsibilities to the ecosystem. The piece is innovative because it combines two very different traditions. The product is both a intricate story and an aesthetic masterpiece.

When one thinks of America, the fusion of culture comes to mind- immigration and cultural diffusion. The Fabric of America art exhibit at the Flomenhaft Galley beautifully captures this essence of America’s underlying immigrant cultures. The gallery was seamlessly curated with a variety of works delicately placed to flow instead of clash from the works inspirations.

One colorfully executed story of not only immigration but the mingling of cultures within an individual was Siona Benjamin’s work, a fusion of her Jewish Heritage and Hindu/Muslim culture. Her utilization of layer painting of ornate and vibrant blues and oranges alongside gold flakes depict the mixture of cultures and a modern spin in an intricate and captivating form.

Most striking and memorable to my eye was her piece, Finding Home #68 “Lilith.” The contrasting cool and warm tones make the piece stand out against the white walls of Flomenhaft, but the actual image is thought provoking and leaves a lingering tone of eeriness. Benjamin’s work depicts Lilith, the female demon in many Jewish myths, an image of not only power but also rebellion. Lilith is depicted in a rich blue tone wearing a hijab surrounded by fire in a striped outfit reminiscent of prison. The blue tone leaves a connotation of confidence and power. The hijab reinforces the mingling of cultures once again. The fire evokes an eerie tone of fear and is another factor that depicts her power; while the prison outfit makes her appear locked into her surroundings as well as exemplifying her rebellion. It almost seems hell-like as if she were spending time in hell. She is watering plants grounded in roots of Fetuses. This, to me, exemplifies the woman’s role as caretaker, but this, I feel, depicts an evil twist that Lilith holds. The painting is finished with Hebrew letters at the bottom and a style reminiscent of Hindu paintings. The overall additions fuse cultures that Benjamin tries to enforce, and add a new more modern twist on Lilith in which she has a mix of power and ties. She, like a modern day woman is a powerful caretaker yet can be shunned for her dismissal of tradition and almost restricted by this new power limited to the confines of growing children. Overall, Benjamin also builds an image of diffusing cultures in modern society where cultures doesn’t have to be defined or separated but can fuse together to form one individual.

As we went up the stairs into the gallery, there were many art pieces that caught my attention. The most mysterious and shocking pieces however, were right in front and to my left. I had never seen anything like this before; and to my luck it was last part to be discussed. I was fascinated by it. A person in the picture and drawn on the person, there were symbols that depicted different ideas. Who was the creator of these wonderful works? Rimma Gerlovina.

I had never heard of her before, but the pictures were stunning. Out of her display, I loved two pictures. The first one was a picture of her, with a bird drawn on her. The wings spanned right across her forehead, with its tail coming down to her nose. The odd part was it was caged… not by metal bars, but by what seemed to be her hair. As you looked, it seemed that the eye of the bird, and Rimmas’ eyes were looking at you. My mind wondered how she created a cage out of her hair, and I thought it was all wrapped around in one piece. It made me feel tense, because it reminded me that we all have secrets, which we do not let out and it could make us feel, locked away. I felt reminded that we all abide by societies standards, and that we may have talents, or new ideas, but we are all too afraid of not being accepted that we lock it away.

The bird is the symbol, of the soul and how beautiful our minds are. I felt the wings are spread through the frontal lobe because this is the powerhouse of decision-making. I felt that she may have wanted to portray, that we have the ability to make the bird wings flap, but we don’t either because of our fears of others perceptions, or we ourselves feel trapped and do not know how to express our thoughts. The frontal lobe is what regulates our movements. It has been hypothesized that we move without thought, and it is our brain that says; “yes, go ahead” or “no, do not do that.” If this is true, then we are all unconsciously moving and acting, but our brain itself, is what makes us feel locked away.

The frontal lobe aids with problem solving, the control of purposeful behaviors, and emotions. I feel that the bird is also a symbol of a person’s unconscious thought. I feel she had a cage made out of her hair, to show that it is we; in our bodies that hold back our brains. We can allow ourselves to be set free, but we don’t. She writes a small explanation on her paintings; “BIRD: Self-enclosed spirit, or beating against the bars of one’s own mental cage.”

The other painting dealt with the concept of time. She has a Spiral coming out from her face. The arrow is turning and for this picture it is at the top, towards her forehead. There are roman numerals; like a clock, XII, 12; III, 3; VI, 6; IX, 9. I thought that it was a paradox, because our concept of time is wrong. Time can be bent and twisted, like the spiral dawn. It may change upon your speed, and your mass. This is what makes it a paradox, we are all familiar with time, but it has a misconception of measure, There have been experiments which have proven that time can be slowed down for an object that is traveling at a fast speed. They wrote, “SPIRAL CLOCK; It is believed by most that time passes; may be it stays where it is. ‘Never was time it was not’”

In the photograph, she is sleeping. This made me think of how time passes no matter what we do. I receive a message from the picture that says we have to also allow ourselves to let go and be happy.

She is a Russian born artist who works with Valeriy Gerlovin. They were both founding members of the underground conceptual movement in Soviet Russia. Their art is based on Paradoxes. Their art is also philosophical and mythological based on the writing in their book.

I also wanted to say that it was beautiful, and I am very thankful to have had the opportunity to visit and see the beautiful paintings. Although these paintings drew my attention, all of them were beautiful.

References

1. Mark Sloan. “PHOTOGLYPHS: Rimma Gerlovina, Valeriy Gerlovin Hardcover – January 1, 1993.” PHOTOGLYPHS: Rimma Gerlovina, Valeriy Gerlovin: Rimma Gerlovina, Valeriy Gerlovin, John P. Jacob: 9780894940446: Amazon.com: Books. New Orleans Museum of Art, n.d. Web. 04 Nov. 2014.

The Fabric of America exhibit at the Flomenhaft Gallery had many exquisite pieces of art, but I found the most attention grabbing artwork to be Roger Shimomura’s American vs. Disney Stereotypes. Shimomura, a Japanese Immigrant, uses this painting as an outlet for the discrimination he encountered during World War 2 when Japanese Americans were sent to internment camps. This painting is phenomenal in the way that it is relatable to all, not just Japanese Americans, because it features stereotypes of all races.

At first glance, this painting appears to be a happy, lively cartoon drawing. Familiar cartoon characters from Disney movies like Mickey Mouse and Donald Duck are depicted using bright colors and are highly animated. I smiled when first viewing this painting because I was familiar with these characters and it looked like a fun, upbeat painting. A closer look reveals this painting is anything but happy with the realization that every character is stereotypically depicted. The Native American characters have skin that is colored a bright red and are depicted either smoking peace pipes or wearing feathered headpieces. The black characters are depicted with afros, big lips, and eating watermelon. The Asian woman has bright yellow skin.

After noticing the racist depictions of the characters, my attention was drawn to the center of the picture. The center figure is an Asian man that appears white in skin tone. He has a nervous look on his face and is cowering in fear due to all the stereotypes that are surrounding him. I remember thinking that the man must be Shimomura, and he must have felt so scared in the internment camps when all Japanese were viewed as stereotypically dangerous following the bombing of Pearl Harbor. The real genius in this painting is that Shimomura was able to take a personal experience, and present it in a way that is familiar and personally appealing to people of all races, while still making the connection to his own life clear.