THE BIG SHOW: All Animals Welcome, 12/14/19 - 2/8/20, at Drawing Rooms

by Bruce Halpin
1/29/20

THE BIG SHOW: All Animals Welcome at Drawing Rooms is a big (nearly 70 artists, 136 works) rambunctious offering. Curated by Anne Trauben, the works include paintings, prints, drawings, photographs, video and objects. The works in the show investigate the varied relationships humans have with animals as companions, providers of utility as well as objects of reflection and metaphor.

“Midnight Companion” by Judith Witlin

“Secret Conversation” by Judith Witlin

“Goddamn Crow” by Michael Lavorgna

“Moonlight Deer” by Michael Lavorgna 

“Anecdote of a Chiken” by Ibou Ndoye

“House Mouse” by Ibou Ndoye

The earliest figurative paintings were of animals. Their function is largely open to conjecture but seems to revolve around the hunt and suggest a spiritual connection between the animals and the hunters. This is certainly the case with paintings by the Indigenous Peoples of North America. Many works in the show convey a spiritual connection to their subjects. Among these are the monoprints “Midnight Companion” and “Secret Conversation” by Judith Witlin. Two works by Michael Lavorgna “Goddamn Crow” and “Moonlight Deer” share that dreamlike quality. Two small works by Ibou Ndoye “House Mouse” and “Anecdote of a Chiken” also suggest a shamanistic connection between artist and subject.

“Double Rainbow” by Bud McNicol

“Breakfast Surprise” by Robert Zurer 

“Flamingo” by Eileen Ferara 

Anne Trauben’s video “Indie’s Escape”

Alejandro Ruben’s video “Earthworms”

A sense of humor is a strong current which runs through the show. Bud McNicol’s “Double Rainbow” presents a camping trip gone terribly awry, it’s hilarity underscored by it’s anodyne title. Robert Zurer’s tiny painting, “Breakfast Surprise” is a goofy, yet beautifully painted, rendering of what appears to be a giraffe wearing a red surgical mask. Eileen Ferara’s “Flamingo” is reminiscent of a painting by Audubon on acid with its woefully convoluted neck. Anne Trauben’s short video “Indie’s Escape” displays a rather madcap humor (I won’t spoil it by describing it). Likewise, Alejandro Ruben’s “Earthworms” is dryly humorous, contrasting the video of the worms with a Salsa soundtrack.

"Let Sleeping Dogs Lie" by Andrea Geller

"Shadow" by Andrea Geller

"Waiting" by Andrea Geller

"Waiting II" by Andrea Geller

Tracey Kerdman’s painting “Milk Teeth”

Tracey Kerdman’s painting “The Offering”

While animals as companions comprise a substantial portion of the works here, a number of pieces exceed the documentary. Andrea Geller’s four oil paintings are really meditations on the nature of materials, color and light. These paintings are forcefully beautiful with deft handling of paint. Similarly, Tracey Kerdman’s paintings, “Milk Teeth” and “The Offering” transcend their subjects in weird, uncomfortable ways. “Milk Teeth” shows two adolescent boys flanking a German Shepard. The undercurrent of unease is not in what this painting shows, but, rather, in what is left out. “The Offering” evinces a similar displacement of normal life. The subject (a dog) is presented as a specimen or object of examination, clinically displayed as if in preparation for some sort of procedure. In both of these works there is an inversion of the “family pet” picture, with an unstated but felt menace lurking somewhere beyond the frame.

"Pelt 4" by Caroline Burton

"Pelt 5" by Caroline Burton

"Pelt 6" by Caroline Burton

"As Luck Would Have It" by Caroline Burton

Caroline Burton’s paintings “Pelt”, “Pelt”, “Pelt” and “As Luck Would Have It”, draw attention to the idea that our relationship to the world of animals is not always benign. Her sensitively painted pelts belie the violence, which transforms them from the skin of a living animal to an object, presumably of utility. Perhaps Ms. Burton’s intent is to disrupt the sentimentality inherent in “cute furry things”, injecting a dose of reality for our consideration.

"Keeping Us in Line" by Stephen Krasner

Many of the works I can only mention in passing but deserve appreciation. They occupy a category I can only describe as “other”. Steven Krasner’s sensitive portraits of his poodle companion have a glow that seems almost otherworldly and thoroughly transcend the “pet portrait”.

Cheryl Hochberg’s “Wool Spinner”

Robert Levy’s “Loading Zone”

Joshua Field’s “Thinking About the Many Ways We Are Bound”

Works that consider the utility of animals include Cheryl Hochberg’s “Wool Spinner”, Robert Levy’s “Loading Zone” and Joshua Field’s “Thinking About the Many Ways We Are Bound”. Mr. Field’s work seems to be based on a manual of how a horse is hobbled but expands to become metaphor.

"Wandering Cow" by Beatrice Mady

"Second Life of Limulus Polyphemus" by Milosz Koziej

"Beavers Revenge" by Casey McGarr

"Curly Rabbit" by Casey McGarr

"Squirrel Revenge" by Casey McGarr 

"Kafka's Pet" by Emily Broussard

"Long Elephant" by Cheryl Gross

"Polar Bear" by Cheryl Gross

"Small Giraffe" by Cheryl Gross

Eugenio Espinosa, "Tere con Repisa"

Eugenio Espinosa, "Abuelo, Marti, Papis"

Eugenio Espinosa, "Venados, Loma"

Lizzie Scott, "Mantaray"

Lizzie Scott, "Mantaray"

Brad Terhune's "Psychedelic Goats and Other Horned Creatures No. 2"

Brad_Terhune's "Psychedelic Goats and Other Horned Creatures No. 3"

Brad Terhune's "Psychedelic Goats and Other Horned Creatures No. 4"

Jodie Fink's "Avemhamo"

Jodie Fink's "Equusavem"

Works that defy categorization but deserve consideration are Beatrice Mady’s “Wandering Cow”, Milosz Koziej’s “Second Life of Emulous Polyphemus”, Casey McGarr’s broadly comic letterpress works, Emily Broussard’s deft painting of a roach, Cheryl Gross’s mixed media work, Eugenio Espinosa’s porcelain works, Lizzy Scott’s “Mantaray”, Brad Terhune’s pop inspired collages, and Jody Fink’s found object creatures which are just plain fun.

There are many more funny, profound, perplexing and well executed than those mentioned above, more than time permits. Anyone interested in animals, contemporary art, or are just in need of an uplift should go see the show in person. It’s well worth the trip. And bring your pet.

THE BIG SHOW: All Animals Welcome, featuring works by artists Alpana Mittal, Adriana Robertson, Alan Walker, Alejandro Rubin, Allen Strombosky, Andra Samelson, Andrea Geller, Anne Q McKeown, Anne Trauben, Beatrice M Mady, Bill Stamos, Brad Terhune, Bruno Nadalin, Bud McNichol, Caridad Kennedy, Carmen Recio, Caroline Burton, Casey McGarr, Cheryl Gross, Cheryl Hochberg, Chris Garcia, Eileen Ferara, Emily Broussard, Eugenio Espinosa, Gloria Adams, HJ Kleiber, Ibou Ndoye, Jane Dell, Jane Westrick, Jane Zweibel, Jodie Fink, Joe Lugara, Joshua Field, Joy Bush, Judith Witlin, Katharina Litchman, Katie Niewodowski, Kevin McCaffrey, Kim Wiseman, Laura Lou Levy, Laura Pawson, Linda Byrne, Linda Gottesfeld, Lizzie Scott, Lola Sandino Stanton, Lori Field, Lydia Viscardi, Lyubava Kroll, Marcia G. Yerman, Mary Beth King, Michael Lavorgna, Milosz Koziej, Mollie Thonneson, Nanette Reynolds Beachner, Pam Marchin, Rachel Aisenson, Rebecca Major, Robert Levy, Robert Zurer, Ry An, Sarah Walko, Scot Wittman, Stephen Krasner, Steven Barker, Tracy Kerdman, Vija Doks, Zewen Wang, continues until February 8 at Drawing Rooms at 926 Newark Avenue in Jersey City. A selection of works from the show can be viewed online at the Drawing Rooms website.

THE BIG SHOW: All Animals Welcome at Drawing Rooms, 12/14/19 - 2/8/20, is curated by Anne Trauben.

Bruce Halpin is an artist living in Jersey City. Read Bruce's bio here and view his artwork here.

Cosmic Love, 10/4/19 - 11/10/19, at Drawing Rooms

by Bruce Halpin
10/21/19

Cosmic Love, curated by Anne Trauben at Drawing Rooms, presents seven contemporary artists' consideration of the spiritual as it applies to their work. Spirituality is part of the artistic practice of nearly every culture. In fact, in many cultures it is the only subject of their artistic activity and is intrinsic to cultural production. Spirituality accompanies much of the discourse of Modernism from the Suprematists through Duchamp, Barnett Newman and beyond. The seven artists presented here each take a personal approach to the subject of the Spiritual.

Jill Scipione

Jill Scipione 

In the case of Jill Scipione, whose work is hung throughout the entrance hallway, as well as the entry gallery, the focus is on nature, specifically trees, as a repository of the divine. The woven bands, which comprise Ms. Scipione’s installation, had been previously tied around the trunks of trees which are slated to be cut down in Bayonne’s Morris Park. Ms. Scipione intends her work to serve both as elegy and a call to action to stop such unconsidered and unnecessary destruction of these quiet souls. It also serves as a rebuke to wanton and rapacious urban development. 

Sky Kim

Sky Kim’s complex and painstakingly executed watercolors reflect the meditative state in which they were created and are intended to promote a similar state in the viewer. They are beautiful in a profound way-their effect is part enchantment and part encounter with the sublime. They suggest a cosmos which serves to draw the viewer into a deep reflection on time and being. 

Bill Stamos

Like Ms. Kim, Bill Stamos’ investigation of the sublime is intended to impart a meditative state. It is, however, created spontaneously with a large degree of improvisation. Stamos’ keen sense of color and light is at the service of a transcendent beauty contained entirely in his work; his shamanistic approach to mark-making creates a coherent chaos. 

Mollie Thonneson

Mollie Thonneson’s “Poseidon Adventure” creates a submerged world of contemplation. Her installation, consisting of sewn together recycled lingerie and fabric remnants, is intended as an extended consideration of feminine sexuality. Through the formal exercise of color, design, and pattern, Ms. Thonneson imparts a sense of playfulness when combined with her titles, lending her work a subtle ironic humor. 

Maggie Ens

Maggie Ens’ large construct takes up an entire wall in gallery two and dominates the room. Detritus of post-industrial production is both medium and subject and is both an indictment of such, as well as a somewhat playful commentary. The installation threatens to overwhelm the viewer, but the humor displayed in her choice of components keeps it from being oppressive. A video opposite the installation shows the artist in the act of creating a similar installation. 

James Pustorino

James Pustorino’s drawing appears to be a diagram of some chaotic process which is on the quantum or cosmic scale. Mr. Pustorino’s title “Invisible Eye Overseeing the Sea” gives no clue to its subject and demonstrates a non-rational approach to mark-making. It’s like some Mad Professor’s drawing intended to explain the inexplicable, inviting the viewer down a, particularly colorful rabbit hole. 

Anne Trauben

Anne Trauben

This brings us by a commodious vicus of recirculation to the work of Anne Trauben in gallery one. Composed of ceramic, paper and lights, her installation suggests a cosmos perhaps in the process of formation. Although presented as an installation, the artist intends each element as a discreet work and agreeable to any and all permutations. Ms. Trauben's work combines dynamism with an undeniable delicacy, thus instilling the viewer with a sense of awe combined with whimsey. In this work, the viewer's internal reality becomes interchangeable with external reality, a concept central to alchemy, as well as many other mystical traditions.

Cosmic Love continues through October 11 at Drawing Rooms 926 Newark Avenue Jersey City. The exhibit features drawing, painting, sculpture, installation and fiber art by artists Anne Trauben, Bill Stamos, James Pustorino, Jill Scipione, Maggie Ens, Mollie Thonneson and Sky Kim. Cosmic Love is curated by Anne Trauben.

Bruce Halpin is an artist living in Jersey City. Read Bruce's bio here and view his artwork here.