Author: Two Coats Team

Poetry

Five poems by Jamie Romanet

The urgency of our times and the dearth of hours in the studio while I was home with my children during Covid prompted me to begin writing poetry. I wrote the first poems as a response to some portraits I had painted, and, although I’m back in the studio now, I continue to write.

Fiction

Short story: Bernard’s Eye [Laurie Fendrich]

The annual New Year’s Day party hosted in the cavernous Robeson home in Evanston was invariably a drag, but that didn’t keep anyone who received an invitation from accepting. They went because they were grateful to be on the party list and they wanted to see and be seen. Bernard Souser, the art dealer from whom Sissy Robeson regularly bought paintings, always was invited, of course, and though he’d arrive late and sneak away early, Sissy never noticed….

Solo Shows

Fran O’Neill: Gestural heroine

Contributed by Riad Miah / The eleven oil paintings in Fran O’Neill’s solo show “Left Turn” at Equity Gallery traffic in vivid, vibrant gestures of color that form softly curved, ribbon-like shapes. While they bring to mind artists like James Nares, Karin Davie, and David Reed, O’Neill’s energetic but self-consciously controlled brushstrokes and honed sense of color and light more directly suggest instants of becoming or emergence. Reaching back so full-bloodedly to revisit gestural painting, and to exploit the expressive potential of abstraction and the flexibility of its formal attributes, somehow seems heroic.

Solo Shows

Tom Butler’s cabinet of wonders

Contributed by Mark Wethli / Years ago I was fascinated to read about a theory that the grooves on ancient clay pots, like the grooves on a vintage music cylinder, might be playable. Given the right audio equipment, we might be able to hear the voices and sounds of the potter’s studio the moment the pot was being made. This beguiling notion came to mind while I was looking at the most recent work of Tom Butler at the Sarah Bouchard Gallery in Woolwich, Maine.

Solo Shows

Christopher Knowles’s keen sense of time

Contributed by Kari Adelaide Razdow / The motif of time is deeply and deftly embedded in Christopher Knowles’s solo exhibition, STAND, at The Watermill Center…In his contemplation of time, Knowles provides a portal to pop culture from days of yore, with associations to language and sound.

Solo Shows

Issy Wood’s dark mirror

Contributed by Margaret McCann / Issy Wood’s paintings in “Time Sensitive” at Michael Werner gallery render transient facets of our daily simulacrum timeless. As though passed through a vintage filter, they seem to recall a. Claude glass, an 18th c pocket-sized, toned mirror that could turn any scrappy piece of wilderness into “a vision of painterly charm: framed and set apart from the rest of the landscape, color palette simplified, bathed in gentle, hazy light.” Aided by a new picturesque aesthetic that combined “the sweetness of the beautiful, cut with some of the sublime’s majestic terror,” ramblers who couldn’t afford the Grand Tour found beauty in local scenery with this handy device. Today one need not even venture outdoors to see anything new. Overstimulation awaits on a quick screen scroll, shifting from monuments to corrective braces to kittens to a Ukrainian battlefield in seconds. Woods slows this high-low flow, turning incongruous images fished from the cyber-stream into often amusing visual meditations with surprising emotional depth.

Gallery shows Lists

NYC Selected Gallery Guide: November, 2022

First things first. If we don’t all get out and vote on November 8, and Lee Zeldin beats Kathy Hochul in what is now a close governor’s race, sensible gun laws and abortion rights would be at risk. Once you’ve minimized that risk, even if you yourself have a couple of exhibitions coming up, resist the solipsistic urge to hole up in the studio. Get out and see some shows. In Bushwick, Astrid Dick and Erika Ranee are in a two-person show at M. David & Co. that looks well worth a trip on the L train. Delphine Hennelly has a solo opening at nearby Carvahlo Park on November 12. In Tribeca, at Canada, look for Xylor Jane’s exploration of prime palindromes — numbers that read the same forward…

Film & Television

Emily, the struggling artist and the criminal

Contributed by Jonathan Stevenson / In writer-director John Patton Ford’s grippingly lean and gritty thriller Emily the Criminal, the audience is immediately thrust in scene with Emily Benetto, who works for a caterer without benefits. Absent exposition, she simply seems petulant and put-upon, not unlike many young adults trying to make their way in an increasingly forbidding world. Forced to quit art school, Emily is saddled with $70,000 in debt and no marketable credentials. But thanks to the dark nuance of Aubrey Plaza’s terrific performance and Ford’s crafty screenplay and cold-eyed direction, it remains clear that something ugly and ingrained lurks behind Emily’s immediate circumstances. Despite early appearances, this film is not a didactic contemplation of the false seductions of the middle class in twenty-first-century America, and only incidentally concerns female empowerment. It is centrally about character and how immutable it is or isn’t.