{"id":5855,"date":"2015-05-14T16:50:32","date_gmt":"2015-05-14T16:50:32","guid":{"rendered":"https:\/\/thedorseypost.com\/?p=5855"},"modified":"2015-05-13T12:20:26","modified_gmt":"2015-05-13T12:20:26","slug":"the-condition-of-music","status":"publish","type":"post","link":"https:\/\/thedorseypost.com\/?p=5855","title":{"rendered":"The Condition of Music"},"content":{"rendered":"
\"Cantoria<\/a>

Cantoria Omaggio: Luca Della Robbia, Debra Stewart<\/p><\/div>\n

The\u00a0current show at Oxford Gallery, “The Condition of Music,” grows on you. Walk a few circuits around the gallery and spend time with individual work; it will open up and begin to resonate. Some pieces, though, make their impression immediately: Chris Baker adds a poetic twist to \"Building<\/a>one of his beautifully geometric construction sites by placing a musical quartet of hard-hatted players atop one of his buildings in \u201cBuilding Suite.\u201d At first you don\u2019t realize they\u2019re there, but then you spot them, letting their concert rain down gently on the work below. It\u2019s a surprisingly poetic touch and reminded me, in a good way, of some of the best New Yorker<\/em> covers, a meditation on the emotional polarities of city life. Tom Insalaco\u2019s night cityscape opens a colorful new chapter in his work. The heavy traffic on a rainy, twisting highway creates a shining, brilliant-hued study in light and dark, with car lights strung along their lanes like musical notations on a staff. A post-rain rush hour, in what’s probably an early winter dark, never looked so good. Ray Hassard\u2019s \u201cSong\u201d demonstrates, once again, his seemingly easy mastery of pastel, with one lone singer bathed in soft light where you can almost hear the melody in his color. One of the most\"Lining<\/a> accomplished paintings in the show, Bill Santelli\u2019s abstract, \u201cLining Up the Centers #2,\u201d seems to conjure worlds within worlds, with his planetary spheres that swirl their atmospheres\u00a0distinctly lit by a nearby star. They’re as colorful as oil on rain water. His geometric compositions bring to mind the later Kandinsky, yet within the confines of his precise and perfect geometry, a chaos of color seems to veil unpredictable mysteries. In \u201cBlue Rondo\u201d, Daniel Mosner offers a humble glimpse of a lone saxophonist, standing barefoot on a carpet, lit from behind by a soothing blue light, reflecting off the ceiling, \"Blue<\/a>glowing on the walls. The foreground is shadowed, as is the musician\u2019s body, so that he seems to be facing into the dark in order to light up the room with his rondo. Mosner captures the light perfectly, with small touches\u2014the way it falls on the man\u2019s toes, even certain spots of color in the Persian carpet and gleaming highlights that give shape to his sax.\u00a0It\u2019s a lonely, soulful moment\u2014 a study in brown and blue, an image of an artist\u2019s obligatory solitude, beautifully vital and free.<\/p>\n

\"Banjo<\/a><\/p>\n

Kate Timm\u2019s large still life, \u201cBanjo Bottle with Violin Vase\u201d,\u00a0with its all-over flood of\u00a0color, is one of her best, a complex assembly of objects, offering a view of a lush yard in the background, with a narrow strip of sky. She simplifies the complexity of her composition with bands of green, blue and muted orange. As with all her work, part of her\u00a0achievement is to create a tension between a surface busy with its mosaic of exuberant color that resolves into an image of objects at rest in a world where outside and inside, foreground and background, seem to be a single continuum in which every little detail matters as much as all the others around it.<\/p>\n

\"\"<\/a>Rick Harrington, as well, offers a small barn that struck me as one of the best he\u2019s ever done, a study in a similar set of colors\u2014green, a Cadmium-yellowish orange, and violet. It\u2019s both perfectly balanced,\u00a0yet the barn is set on a bias and almost suggests a laborer trudging uphill, toward the right, with a load on his back. The color and the values of light and dark work in tandem, drawing the eye upward from the cool shaded grass toward the brilliant warm sky whose color seems to have crept down into the barn itself. Everything locks together like a puzzle solved with perfectly harmonized colors and shapes. Bill Stephens contributed a small calligraphic image of a tree, with a whimsical title that works as a pun in at least one or two ways (if you ask me), \u201cMorning Timbre.\u201d It\u2019s likely one of the treetops viewed in the grove behind his studio. It seems to toss and sway in changing weather, with a pale yellow light showing through under the clouds. It reminded me of Burchfield\u2019s ecstatic visions of his Ohio woods and fields. In counterpoint, Jean Stephens offers a tiny,<\/p>\n

\"as<\/a> exquisite glimpse of two metal flutes sitting on sheet music, a work so small you can easily miss it, but don\u2019t. Some of her paintings have a unique sense of intimacy, as if she\u2019s giving you a look at something she doesn\u2019t bring out into view for just anyone. In this work, the flutes reflect the sheet music beneath them. It\u2019s one of the best responses to the theme of the show, capturing the immersive quality of music, it\u2019s ability to erase boundaries between itself and the world a listener inhabits. When I listen to the music I love, the world I’m in\u00a0becomes<\/i>\u00a0that music. Everything I experience is immersed in it rather than the other way around, just as those flutes show me\u00a0everything around them, even though\u00a0what they reflect is\u00a0nothing more than the sounds they’re about to make. The title \u201cAs a Wind in a Forest\u201d nods, with a wry smile, toward Bill\u2019s storm-tossed tree, and the two paintings create a playful tension between motion and stillness, silence and sound.<\/p>\n

\"The<\/a>Anthony Dungan\u2019s \u201cThe Metronome\u201d is an abstract expressionist canvas that takes the triangular form of a metronome and the swaying motion of its pendulum as its subject and becomes a study of sound itself, the way it pulses and moves, near and far. Its muted color allows Dungan to work with a sense of depth as convincing as a representational painting\u2019s depth of field. Areas of the painting recede, while others move toward the viewer, pushing and pulling in a different dimension from the back-and-forth of the pendulum. It\u2019s a painting that finds an AbEx balance between control and spontaneity, structure and serendipity.<\/p>\n

Probably the most idiosyncratic painting in the show, Debra Stewart\u2019s take on the \u201cCantoria\u201d of Luca Della Robbia, now in the Museo dell\u2019Opera del Duomo. It might never have been painted if she hadn\u2019t happened upon an antique gold-leaf triptych frame which provided her with the stage, as it were, for her concert, populated not only with singers, following the Rennaissance sculptor, but also circus animals peeking wryly in from outside the frame, a friendly elephant and giraffe. Look down toward the bottom of the central panel and, through the cloud cover you can see, from your altitude far above the earth, a glimpse of the Duomo itself. It\u2019s a joyful painting.<\/p>\n","protected":false},"excerpt":{"rendered":"

The\u00a0current show at Oxford Gallery, “The Condition of Music,” grows on you. Walk a few circuits around the gallery and spend time with individual work; it will open up and begin to resonate. Some pieces, though, make their impression immediately: Chris Baker adds a poetic twist to one of his beautifully geometric construction sites by […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-5855","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"\nThe Condition of Music - represent<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/thedorseypost.com\/?p=5855\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Condition of Music - represent\" \/>\n<meta property=\"og:description\" content=\"The\u00a0current show at Oxford Gallery, “The Condition of Music,” grows on you. 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