Chris Semergieff captures the essence of Bronx and Yonkers in latest show

The Bowery Gallery in Chelsea is currently presenting a collection of work by Chris Semergieff for an exhibition titled Plein Air Works. For this show, Semergieff presents several recent paintings of landscapes throughout the Bronx and Yonkers. Having grown up in New York City, Semergieff has always been interested in the urban skyline and relationships between light and space and the works in this show even with limitations in urban environments. He depicts the atmosphere with the same dedication that his inspirations like Albert Cuyp, Edward Hopper, Rackstraw Downes, and Antonio Lopez have done with their landscape paintings of the wilderness and urban life.

Steve's Train Barge Terminal West (2015) by Chris Semergieff

Semergieff depicts the rundown streets and daily scenery of Whitlock Avenue in the Bronx and the bridge where the 6 train runs routinely traveling along the tracks of the curved bridge with the big blue sky in the background with works like Whitlock Bridge, Whitlock Curve, Whitlock Spirals, and Swerve. He also captures the ambience below with images of smashed cones on the sidewalk and people riding bikes.

Other notable works like Steve’s Train Barge Terminal East and Steve’s Train Barge Terminal West depict the wide open space of both sides of a deserted train barge with water from the East River gradually flowing and dissolving on the dirt as trees, buildings, and bridges can be seen far out in the distance.

At the Bowery Gallery 530 W. 25th St., through Jul. 9. The gallery is open Tue.-Sat. from 11 a.m. until 6 p.m.

Linda Carey's eloquent Italian paintings featured at Bowery Gallery

The Bowery Gallery in Chelsea is currently presenting a collection of work by Linda Carey for an exhibition titled Italy in Mind.  As the title of the show suggests, Carey presents landscapes and still lifes inspired by Italy and Italian painting. The backgrounds of the still lifes are painted from reproductions of 13th- 15th century Italian paintings. Fragments of frescoes by Piero Della Francesca and Lorenzetti, and panel paintings by Sassetta appear behind a real space containing simple objects and raking light.

One notable work in the show titled Gourd in Grotto depicts a giant gourd very much resembling a pear with a long, curvy stem. It’s situated on a flat surface within a closed-off space with the fine buildings and hills of the Tuscany region in the background.

Another intriguing work known as Bellini Landscape With Deer eloquently depicts an animal (possibly a deer without antlers) standing tall and proud with its chest and head erect looking confidently out in the distance. By its front legs is a pumpkin and behind it are exquisitely gorgeous houses and towers saturated in a warm orange color capturing the beauty and ambience of the region.

Gourd in Grotto by Linda Carey

Carey also combines landscape and still-life with Plastic Apple, City by the Sea. As the title of the painting suggests, a granny-smith green apple can be seen at the bottom right corner on the right side of the entrance that leads to a big city which looks like a maze of tall, skinny buildings with pastel colors mostly sea green, lavender, light pink, and rose-colored set upon steep curvy hills like a magic kingdom of wonder. 

A similar painting titled Arezzo With Onions depicts a medium sized dark red colored onion next to a smaller reddish orange onion with the tall, white buildings of the charming city of Arezzo behind the two vegetables, as though a world of possibilities and adventure awaits.

An avid traveler, Carey has painted throughout picturesque countries like France, Ireland, and of course Italy. She lives and works in Williamsburg, Virginia and has taught at the College of William and Mary and participated in numerous studio programs.

At the Bowery Gallery 530 W. 25th St., through Jul. 9. The gallery is open Tue.-Sat. from 11 a.m. until 6 p.m.

Philip Guston's abstract expressionist period highlighted at Hauser & Wirth

It’s about time somebody put together Philip Guston’s abstract expressionist paintings and mounted them in a show – and that’s just what Hauser & Wirth has done with its exciting exhibit Philip Guston: Painter, 1957-1967. Catch it if you possibly can, because it closes July 29 and is probably a once-in-a-lifetime event.

This ambitious show spreads in chronological order through four rooms with 36 paintings and 53 charcoal and ink drawings. It’s presented more like a museum exhibit than a gallery show. In fact, many of the works on display are borrowed from museums and private collections and are not offered for sale.

The exhibit is a dazzling display of Guston’s trademark style during this period, with bold forms and brushstrokes and a progression from vibrant colors to darkened hues over the years before he made his final pivot back to figurative art. But even within the abstract form one can often make out depictions of people, animals, objects, nature, and emotion, hinting that he had not completely left the figurative style behind.

Fable II (1957) by Philip Guston

For example, Alchemist (1960), has supernatural elements as it illustrates a dark blue moon subtly revealing a face as though representing the spirit of an ancestor watching over its descendants in the house directly below. Outside the house, a mysterious tall, skinny figure (an alchemist, perhaps) whose height exceeds the home, reaches out as though giving the house a blessing.

Path II (1960) is done in somber hues of dark greys, muted blues and black with a shape resembling a human figure on the left, similar to Accord I (1962), where dark grey and black swirls of paint engulf the canvas as traces of orange and sky blue peek out from behind. On the left side of the painting, a shape resembling a human figure wearing a rosy pink garment is bending its head, depicted as a dark red circle, and looking down. Other intriguing paintings include Fable II (1957), which suggests a woman wearing a ruby red dress and riding an elephant-like creature against a quiet backdrop of grey, sky blue and yellow.

Between 1967 and 1969, Guston did a series of charcoal and ink drawings where he makes use of fine form and and geometrical patterns, some of which are on display in the show. This exhibit, curated by Paul Schimmel, partner and vice-president of Hauser & Wirth in Los Angeles, gives well-deserved recognition to this phase of Guston’s career.

At Hauser & Wirth, 511 W. 18th St., through July 29. The gallery is open Tue.-Sat. from 10 a.m.-6 p.m. until June 19, and is on a summer schedule of Mon.-Fri. from 10 a.m.-6 p.m. June 20-July 29.