Friday, May 30, 2014

British artist depicts Scottish trading company of the Far East

A collection of detailed portraits and landscape paintings by one of Great Britain’s leading artists is one of the major highlights of the New York art scene this month. In his latest show The Jardine Matheson Commission and City Views, John Wonnacott focuses on the Scottish Keswick family and their partnership with Jardine Matheson & Co., a trading company based in the Far East founded by Scottish businessmen William Jardine and James Matheson in 1832. Nearly 200 years later, the tradition of family and partnership lives on with the Keswicks (cousins of the Jardines) taking over Jardine Matheson & Co. and making it one of the most successful trading companies of East Asia.
In one work titled Taipans on the 48th Floor Wonnacott illustrates Simon Keswick, Lord Rodney Leach, Sir Henry Keswick, and fellow business man Robert Kwok sitting together in an office in Hong Kong with circular windows overlooking the harbor. The reflections of light shining through the windows are seen on the ceiling and on the paintings hanging on the walls. Taipans on the 48th Floor was loosely based on George Chinnery’s 1842 painting On Dents Veranda that also featured a group of businessmen sitting in a living room with the light shining through an open window.


"Taipans on the 48th Floor" by John Wonnacott





Wonnacott has also painted portraits of each of these men individually. Robert Kwok at the Jardine House illustrates Mr. Kwok sitting in front of a circular window offering a clear view of the harbor. On the right side of him, a painting of a green parrot is clearly visible, and also appears in Taipans on the 48th Floor. Similarly, Sir Henry Keswick at Lombard Street, features Sir Henry closely studying a journal or catalog as he sits in his office overlooking the city street. Wonnacott also offers landscape paintings overlooking the city such as The Hong Kong Club from the Mandarin, and There was a Green Hill from Jardine HouseAt Chambers Fine Art, 522 W.19th St., through Jul. 5. The gallery is open Tues.—Sat. from 10 a.m.—6 p.m.

Wednesday, May 21, 2014

Is HBO's Girls, the new Sex and the City of the 2010s?

Americans saw quite a revolution over the past 15 years with programs that bring up issues and true-to-life situations that audiences can honestly relate to. One of these shows was HBO’s Sex and the City, based on a book of the same name by Candace Bushnell. The show spoke directly to a specific audience—single, smart, successful women in their 30s who had yet to find love. Women of this demographic, especially the unattached, found the show liberating, because it affirmed the notion that a woman that age can feel okay and even embrace her singlehood.
Although Sex and the City has been off the air for nearly 10 years, it’s a show that is still very much alive in the minds and hearts of many women today because it was a turning point in American television. It also paved the way and set standards for movies and television series about women trying to find love while living a full life. Now, there is a show airing on HBO that mirrors Sex and the City more closely and directly than any of its other successors.
Lena Dunham's Girls is very much like, but also quite different, from Sex and the City. The similarities are that both shows revolve around a group of four close friends who live in New York City and are rather clueless when it comes to relationships with the opposite sex.
The differences are that the Sex and the City women are in their 30s, and have successful, established careers, beautiful apartments and glamorous wardrobes, while the young women of Girls are in their early to mid-twenties and are not sure of who they are or what to do with their lives in their post-college years. The girls are trying to find a place in the world by searching for jobs that accentuate who they are, while juggling the men who come into their lives.
The women of Sex and the City were comfortable in their own skin even though they take a while figuring out what exactly they want in a partner. The young women of Girls, on the other hand, don’t display the same confidence; they’re just beginning to comprehend the world they live in and are trying to establish their individual identities.
The characters also mirror each other, most obviously Girls’ Hannah (Lena Dunham), is a lot like Carrie (Sarah Jessica Parker) on Sex and the City in that both are dedicated writers; Carrie is a professional newspaper columnist, while Hannah pursues the goal of writing a book, while working at a local coffee shop on the side.
Hannah’s best friend Jessa (Jemima Kirke) is a lot like Samantha (Kim Cattrall) on Sex and the City as both women are very sexually liberated, daring, and fearless. Marnie (Allison Williams) on Girls is like Miranda (Cynthia Nixon) on Sex and the City. Both women are very practical when it comes to business and relationships and possess a strong no-nonsense attitude. The character of Shoshanna (Zosia Mamet) on Girls and Charlotte (Kristin Davis) on Sex and the City, both project an innocence and have conservative views on sex and relationships.
Even the characters’ relationships echo one another’s. For instance, Hannah’s relationship with the aloof Adam (Adam Driver) is very much like Carrie’s with Mr. Big's (Chris Noth). Both couples go through on-again, off-again relationships, and both Adam and Mr. Big have a fear of commitment.
Right from the first episodes of both series, the viewer will instantly pick up on the idea that the couples will have a special connection throughout the series, and will serve as a core part of the show although the women come across other men along the way. While it remains unknown exactly if or how Hannah and Adam will end up together, the notion that it will happen is alive and well.
A major difference between the two shows is that Carrie and her friends dress very glamorously and revel in a lavish lifestyle in Manhattan, whereas Hannah and her friends live more modestly in Brooklyn. Sex and the City is totally unrealistic as far as the women’s financial and living circumstances are concerned.
Carrie’s life is the most ridiculously unbelievable because there is no way anybody living in New York City can afford to live independently relying solely on a career as a freelance writer. What’s even sillier is not just the idea that she’s supporting herself with the city’s high rents, but that she can afford such grand luxuries as cigarettes, Manolo Blahnik shoes (she has WAY more than she needs) and alluring, outfits and purses with top designer labels like Versace or Louis Vuitton.
Girls, on the other hand, portrays the friends’ situations much more realistically from the very first episode. Hannah’s parents stop supporting her financially, and she is living with Marnie whom she knows from college, in the Greenpoint section of Brooklyn, while struggling to find a part-time job while pursuing a writing career. Marnie faces similar problems, when economic woes lead her to being laid off from her job as an art gallery assistant and she takes a job as a restaurant hostess and contemplates launching a singing career.

Adults in their twenties, and even early thirties, today can identify a lot more to the characters on Girls than the women on Sex and the City because practically everything about the lives the young women on Girls lives is basically how people of that age group now live. While Girls has much more of a grittiness and practicality than Sex and the City, both shows speak directly to a specific demographic in a particular time and place. Although the literal circumstances of the Sex and the City women might be a bit dubious, they go through the same experiences with friendship and boyfriends like millennial woman. With Girls, it’s the recent college grads also navigating life and learning about what they want and what they can get from an imperfect world.

Saturday, May 10, 2014

Intriguing portrayals of Japanese femininity at Chelsea gallery

A collection of alluring works depicting young Japanese girls are currently on display at a Chelsea gallery in a show titled Shinchishirin by Ai Yamaguchi. For her second solo show in New York in 12 years, Yamaguchi focuses on feminine beauty with a strong emphasis on the thick, long, silky, hair of girls and women. Long hair has long been an important asset of beauty in Japanese culture, which Yamaguchi truly embraces by making the girls’ hair a dominant focus by painting them in traditional Japanese calligraphic style. The works in this show are mostly acrylic on cotton, non-gesso blanket canvases layered on multiple planes with unique shapes such as the shape of a bird in Shin to San, or a shape resembling a pair of lips in Yorozu no ha.


"Shin to San" (2014) by Ai Yamaguchi


The title of the show Shinchishirin comes from several different poems from the Heian Period; “shin” means “heart,” “chi” means “earth,” and “rin” means “forest.” Altogether,
Shinchishirin is an expression of how the seeds of one’s heart are planted into the ground and grow into a forest of poetry. Yamaguchi’s art is deeply rooted in traditional Japanese themes. In this show in particular she illustrates these girls’ lives as beautiful and alluring, yet innocent and unbroken.


At The Joshua Liner Gallery, 540 W. 28th St., through Jun. 7th. The gallery is open Tues.—Sat. from 11 a.m.—6 p.m.

Artist creates 'Paradise' with Biblical characters

Biblical figures are currently being featured in the form of small, porcelain sculptures in Paradise, the latest exhibition of work by Mary Carlson. In this show, Carlson depicts a heavenly kingdom with several variations of characters such as Adam and Eve, Mary Magdalene, St. Francis of Assisi, and St. Catherine of Alexandria, and also includes sculptures of special flowers. She evokes the souls of these legendary figures by using glazed stoneware, porcelain, that are sometimes combined with beads, Styrofoam, thread, dried flowers, and plaster.

One poignant piece in the show is Adam and Eve (after Masaccio) depicting the first couple desperately begging for forgiveness after disobeying God’s orders. Adam is seen with his hands covering his face while Eve is seen looking up, crying out to the Lord with her hand over her heart. Another piece titled Adam, Eve, God (after Bosch) features Adam and sitting on one patch of grass while Eve is kneeling down on another patch of grass while holding the hand of God, who is seen wearing a rose-colored robe.


Adam, Eve, God (after Bosch) (2014) By Mary Carlson


St. Catherine of Alexandria is another significant subject in this show. One sculpture titled Catherine of Alexandria (after Josse Lieferine) features St. Catherine with a pleasant, reassuring expression on her face as she holds an open book in one hand and gently holds out her other hand in a comforting manner. Golden strands of thread represent her long, blonde hair flowing freely in the wind. Catherine of Alexandria (after Roger van der Weyden) is a more morose portrayal of the Saint where appears bald, her gaze set downward, and holding a dried out flower in her hand.

Mary Magdalene is portrayed in one self-titled figure where she possesses an heir of authority wearing a dark green dress and a light green robe while holding a ball of bright red beads. Another version of Jesus’ most faithful follower Mary Magdalene (after Piero della Francesca) depict her wearing a rose-colored robe, while holding a small, round container, with a pointed lid in her hand.

Mary Carlson is a recipient of a John Simon Guggenheim Fellowship, and the National Endowment for the Arts and the New York Foundation for the Arts. Her work has been featured at many shows and galleries across the country and around the world. She lives and works in both New York City and upstate New York.


At The Elizabeth Harris Gallery, 529 W. 20th St., through Jun. 21. The gallery is open Tues.—Sat. from 11 a.m.—6 p.m.

Monday, May 5, 2014

Bob Dylan's original, handwritten lyrics offered at Sotheby's

The original, handwritten lyrics of Bob Dylan’s Like A Rolling Stone will lead Sotheby’s Presley to Punk: A Rock and Roll History auction next month. Dylan’s 1965 hit song earned the folk singer rock icon status and was chosen by Rolling Stone magazine’s 500 greatest songs of all-time. The first draft is four pages long and includes numerous corrections, revisions, and additions including the repeated phrase ‘how does it feel’ as well as notes on American culture, and some interesting doodles.
Like a Rolling Stone contrasts with the earlier, short, light-hearted pop songs that had been topping the charts.

In the song, Dylan tells the story of a character called ‘Miss Lonely’ who has been unlucky in life. Dylan changed the rules in pop music by defying convention and going electric with six and a half minutes of dark poetry. The manuscript is estimated to bring in $1—2 million. More of Dylan’s work to be offered includes the original draft of A Hard Rain’s A Gonna Fall that appeared on his 1963 album The Freewheelin’ of Bob Dylan, is estimated to bring in $400,000--$600,000.  

Photo by Jerry Schatzberg

Other highlights of the auction include the original poster of Elvis Presley’s 1957 concert at Multnomah Stadium in Portland, Oregon (est. $25,000-$35,000); a promotional poster of The Rolling Stones’ 1965 concert at the L’Olympia auditorium in Paris (est. $2,000--$3,000); and the original signed contract by Jimi Hendrix with PPX records in 1965 (est. $100,000-$200,000). The auction will be held Jun. 24th at Sotheby's New York, 1334 York Ave. (212) 606-7000.

Friday, May 2, 2014

Legendary creatures portrayed at Chelsea gallery

Large, colorful paintings of legendary animals by Walton Ford are currently on view in Chelsea in a show titled Watercolors. For this show, Ford focuses on connections between human culture and the natural world, drawing upon inspiration from folklore and historical studies. 

One work called Rhyndacus features a 10-foot tall snake and a flock of colorful birds heading toward its wide-open mouth. Rhyndacus is based on Aelian’s De Natura Animalium that tells the story of a snake believed to magically lure prey by opening its jaw. Another painting called The Tigress, illustrates a large tiger surrounded by giant bubbles coming from the grass. She raises one of her paws as she stares at the bubbles with excitement and wonder.


"The Tigress" (2013) by Walton Ford


A piece titled The Graf Zeppelin tells the story of Susie, the first female gorilla who came to New York in 1929. Ford portrays Susie sitting comfortably in a first-class cabin of a German ship, overlooking the Atlantic Ocean. A similar painting titled Windsor, May 1829, is based on a gorilla known as “Happy Jerry” who lived in Edward Cross’s menagerie in London in the early 1800s.

 Ford illustrates “Happy Jerry” sitting at King George IV’s dining table smoking a long, thin, clay pipe. The image is based on a scene from Heads and Tails, an 1870 book by Adam White. At The Paul Kasmin Gallery, 293 Tenth Ave., through Jun. 21. The gallery is open Tues.—Sat. from 10 a.m.—6 p.m. 

Wood sculptures show children coming of age

An enchanting display of life-size wooden sculptures is currently on view in Chelsea. For the exhibit titled The Invocation, artist Gehard Demetz’s carving depict adolescents and young children who posses maturity and wisdom beyond their years. The expressions on their faces suggesting deep thoughts of life’s challenges and complexities as they transition to adulthood, leaving the light-heartedness of youth behind. For instance, one piece portrays a girl kneeling down at the altar of a church with her eyes closed. She is only wearing one shoe, her other shoe sits on the edge of the altar. 



Another startling sculpture features a boy wearing log, dark yellow gloves holding a handgun of the same color in his mouth. Just as intriguing a piece is that of a boy wearing long pants and overalls looking very solemn, and another face of his with his eyes closed comes off to the side. Other works include sculptures of a boy and a girl with black tears coming from their eyes. Demetz lives and works in Italy where his work has been featured in many solo and group exhibitions.

At The Jack Shainman Gallery, 513 W. 20th St., through May 31. The gallery is open Tues.—Sat. from 10 a.m.—6 p.m.