THE ARTS IN NEW YORK CITY

Having lived in New York City for all of my life, Chelsea was nothing new to me. Despite being an “outer-borough” kid, I really spent most of my time in Manhattan. I knew of the galleries in Chelsea and have been in a few at some point in my life, but I had no idea how many there were. The Chelsea I knew growing up was the west side neighborhood with lots of restaurants bearing rainbow flags and a huge blue and yellow sports complex that jutted out over the pier as though it were being forced into the river by the other buildings due to its sheer ugliness. In more recent years, I have come to know Chelsea as a mecca for great food and art, as well as the home of many good friends - some of whom have parents who are part of the art and food scene. I know that it used to be a pretty bad neighborhood; slums, junkies, crime. But I also know that these are the conditions that foster creativity and nourish artists. Aside from the shooting galleries and abandoned warehouses, legends of the art world called Chelsea their stomping grounds. In the 60’s and 70’s, Warhol used to make films in the Chelsea Hotel, where Mick Jagger and Jimi Hendrix would stay when they came to New York. In the 1980’s, Chelsea was home to the notorious Limelight and other clubs, where drugs and music would meld into otherworldly experiences. The Chelsea of 40, 30 and 20 years ago is the what Williamsburg and D.U.M.B.O. were 5 years ago.

All those galleries are there because that is where the art was and is. There is a lot of space in those old warehouses and what is more important, is that they are isolated and away from commercial centers and residential high rises, which threaten art by trying to make it a selling point, as is the case with Williamsburg now. The neighborhood is becoming a canvas as well; Frank Gehry just had one of his architectural masterpieces made into reality right off the West Side Highway and the local parks are designed with a little more pizazz than most other New York City public parks. Chelsea is old news, however, and high rises have started to go up in and around the area. The reason that Chelsea remains as the gallery ground-zero for this city, is simply because it has become a marketing tool for developers and real estate agents. People move to where the art is because they find it trendy and cool. As long as the galleries remain there, landlords and developers can charge outrageous prices for apartments and lofts.

The piece I chose was an untitled work from Quentin Curry’s “Su Casa Mi Casa” exhibit at the Stellan Holm Gallery. I was immediately drawn to the work because of its bright fluorescent colors and use of different textures and media. It initially appeared to be just oil, but as I approached, I could see different textures and colors that were clearly acrylic and spray paint, I believe. The piece was about 6×4 and was positioned next to a piece of a similar subject but in muted colors. The subject appeared to be the charred remains of a house on a waterfront during sunset. Dark angular beams lay in ruin, leaving only a bare skeleton of a structure that appears to be a massive beautiful villa. Strewn among the charred remains were pieces of artwork that were connected to Spain – a portrait of Don Quixote, Picasso’s Guernica and several other pieces. There also appears to be hints that human life was once there; a wig and some torn clothing. Also, some of the beams form what appears to be a prison cell, with bars and a gated door. The piece is overwhelmingly pink and orange, like a setting sun. The horizon is texture like a mosaic compared to the beams which are smooth and actually look like beams set into the canvas. If you look closely, you can see green ghosts of faces as if they were pressed against the canvas. It’s a very cluttered piece, but simple to follow if you take the time.
In terms of meaning, there was no written statement about the artist of any of the works, so one can only infer from the other pieces, as to what the meaning is. Most of the other pieces deal heavily with Mexico and incorporates Mexican art and colors. One piece had to do with crossing the border via the freeway. Hidden in the painting was the statement “Come Back Soon.” This theme was echoed in the doormat at the entrance to the gallery. Most of the art was done with lots of bright and fluorescent colors – greens, pinks, yellows, reds and oranges – and included subtle Mexican influence, such as sombreros, palms and Calaveras. To me, the painting represented the devastation of colonial rule. The charred structure of the house is the remnants of Spanish rule, which is supported by the Spanish works of art that are found among the ruins. The juxtaposition of the dark brooding ruins and the beautiful colorful sunset, represents the Mexico’s ability to overcome colonial rule. However, the prison bars still remain, which serve as a reminder of the slavery that came with Spain’s rule and the oppression that still exists in today’s Mexico. The green-faced specters seem to be the ghosts of colonial greed, as green is traditionally associated with greed and avarice.
From all the galleries I visited, I noticed a common trend of artists depicting real life through abstract channels of expression. I saw lots of color and mixed media work, which really offered a surreal experience to the viewer. In the photography gallery I saw, artists were using a lot chemical techniques to produce fascinating effects on ordinary pictures. The art of today is also more political than traditional art.

This entry was posted on Sunday, September 23rd, 2007 at 6:36 pm and is filed under