The
Uncanny Valley
By Alison Woods
"Lost Resorts (pool and h a n dball)
" focuses on the ruins of the resorts’ 1930s-era concrete
swimming pools and their weatherbeaten, shredding handball courts.
The old pools, with the skeletons of their high and low diving boards
intact, are crumbling and empty but for rainwater, and they have
trees growing through their cracking oors, but they remain elegantly
formed and beautiful to look at.
There’s
also much work in "The Uncanny Valley" that doesn’t
overtly address the Hudson V alley .Enigmatic installations about
relationships (one titled "24 Ways of Being Together Throughout
a Day") by Peter Iannarelli consist of candy sprinkles in a
glass sphere, lots of inverted glass jars, some Sealy Trucks, Albany
2006 by Sharon Core very clean-looking dirt, little pulsing electrical
mechanisms, Scotch tape, string, paper towels, bottle tops, blocks
of wood, balloons, bricks, a piece of white bread, paper bags, chrome-and-glass
bathroom shelving and other diverse objects, and have the spare,
sparkly, dust-free appeal of a laboratory experiment or a store
display. Videos by Lindsey Graham, especially one of a woman somersaulting
continuously through a series of urban and rural settings, are amusing;
conte, charcoal and ink drawings by Rebecca Zilinski are spare and
elegant and draw you in through an unexpected hole of white space
at the center.
Chris Gonyea’s oil paintings of what look like windswept trees,
from his "Deep Forest" series, are light in the center
and dark around the edges, suggesting an eerie moment in the eye
of a storm. James Holl’s paintings spring directly from the
Hudson River School tradition, but without any obvious references
to those paintings. Holl disassembles the elements of those historical
paintings—colors, brushstrokes, and so forth.....
CONTINUE....
|
