‘River Woman’ Celebrates the Intersection Between Art and the Environment

Last Saturday was Earth Day, and people gathered in Washington, D.C. for the March for Science. This Saturday is the People’s Climate March. Both have been staged to promote environment and climate literacy. There is no better time to do some deep thinking about the state of the earth and climate change then right now. The exhibition ‘River Woman’ at ODETTA Gallery in Bushwick compliments this moment nicely. Curated by artist Ellen Hackl Fagan, the show includes works from artists Nancy Cohen, Ellen Kozak, Fritz Horstman and Kathleen Vance. It closes on April 30th so this is the last weekend to visit the gallery.

‘River Woman’
elemental
universal
sustaining
beautiful
dangerous
the river and the woman merge
and become one entity

At the center of the first room sits a large wooden formwork by Fritz Horstman. The gray cavity of the structure makes up the shape of the East River. Roosevelt Island stands out to help the viewer render the entirety of this salt-water tidal estuary, giving the body of water focused prominence. Also featured are two of his videos created from conversations and interactions done with river communities abroad.

Formwork East River
Image: Fritz Horstman, Formwork for the East River, 2017, plywood, wood, hardware, 36 x 216 x 84 inches

Off to each side of Horstman’s installation, hanging on the walls, are two large handmade paper works by Nancy Cohen. One appears to capture debris caught at the river bank. The other, pulls out for an aerial view of a river bend. The undulating surface of the paper evoke the landscape they’re inspired by. It is fun to get up close to these pieces just to let the tactile quality wash over you. There is something ancient and present about their quality.

On the far wall of the first room are paintings by Ellen Kozak. They are expertly produced to create a semi-gloss finish of images that are inspired by natural phenomena, motion and light. Rows of color on one of them feels like ripples in a river. Since 1994, her studio has been perched just above the bank of the Hudson, she says she sees the river in all seasons and the works imbue that sensibility.

Moving towards the back of the gallery gurgling water can be heard. A large sinuous brown mass hugs the corner at torso level. It is a reimagined version of Newtown Creek. Using historical documents, Kathleen Vance traced the tidal flow of the Super Fund creek from its tributaries – Dutch Kills, Whale Creek, Maspeth Creek and English Kills, and redirects it. This new rendition is healed and unencumbered from the last few hundred years of industrialization. The water seems clean enough to drink, it is serene and peaceful.

Blue North Painting
Ellen Kozak, Blue North, 2015, oil on panel, 27 x 30.5 x 2

In tandem with the show, Fagan, of ODETTA invited Paul Gallay, President of Hudson Riverkeeper to discuss the state of the Hudson River and its related tributaries this past Sunday, April 23rd. Riverkeeper is a member-supported watchdog organization committed to safeguarding the drinking water for millions of New Yorkers. This year It is celebrating its 50th anniversary. In January, Riverkeeper signed a landmark agreement with New York State and Entergy, the company that runs the controversial facility, to close Indian Point Nuclear Energy Center by 2021. This is a huge victory for Riverkeepers and the people of New York State.

People gather to listen to Paul Gallay, President of Hudson Riverkeeper

Joining Gallay was NYC Water Quality Project Coordinator, Chrissy Remein. She shared stories about the many partners that work together to monitor and gather data. She invited attendees to participate in the upcoming visioning meeting for Newtown Creek which will happen in early June. The two took questions, which led to a passionate exchange by those attending. It was an inspiring conversation that connected the long-time efforts to improve the quality of water and environment along the Hudson River, to current struggles on policy and the ‘River Woman’ artwork surrounding us.

Can’t make it to the People’s Climate March in D.C.? Here are two ways you can take action:

1. ODETTA is having a silent online auction to benefit Riverkeeper. The auction is open until midnight April 30, the last day of the exhibition. The works in the gallery and in the flat files are available. All of the proceeds raised above the reserve price go directly to Hudson Riverkeeper. Support the artist while investing in our waterways!

2. The 6th Annual Riverkeeper Sweep will be happening on May 6th. You can register to volunteer at one of over 90 Sweep projects across the Hudson Valley and New York City.  Learn more: https://www.riverkeeper.org/news-events/events/rvk-events/save-the-date-6th-annual-riverkeeper-sweep/


ODETTA
229 Cook Street in Bushwick, Brooklyn
Hours: Friday thru Sunday 1-6 pm, and by appointment.
“River Woman’ Is up until April 30th.
Website

 

Exploring Perception in Minimalist Reflections at Fresh Window

Three British Artists in their 70s at Fresh Window featured a body of minimalist work that explores perception, recognition, and spatial experiences. This show was organized by Bartha Contemporary Ltd. for the Exchange Rates Expo and was on view from October 20 to November 20, 2016.

Douglas Allsop uses reflective materials that echo the room where the artworks are placed. Reflective Editor, Two Horizontal Rectangular Holes, Parallel Pattern, Horizontal Division (2010) is hung prominently on the main wall of the square-spaced, white-wall gallery. The four rectangles, each cut in half by a black line, are made of cast acrylic frames. They outline a frameless view—we don’t see a straightforward reflection of ourselves, just the wall on which the work hangs. These angular, linear works show a skewed reality, warping the reflection of the viewer and the space in which they stand.

Adam Baker Mills explores the characteristics of light and shadow, an artistic investigation that he began in the sixties. The works have been meticulously crafted to dupe the viewer’s perception. Their experience of the work changes as the viewer walks from left to right. New colors are discerned, substances are redefined, and shapes are reformed. When viewing Shadowgap 2 (2016) straight on, it appears that two pieces of MDF have been hung parallel on the wall with a gap between them. Upon close inspection, the edges reveal a white paint that gives the illusion that the pieces are cut out. In Red Box (2016), pink and purple tones illuminate from the center. Depending on the viewer’s vantage point, the intensity and tone change as light and shadow overlap, giving life to new shapes of color.

Alan Johnston considers his practice to be a collaboration between art and architecture, as well as Eastern and Western aesthetics. In his Mies van der Rohe Haus Series, the artist utilizes Titanium White acrylic, pencil, charcoal, and beeswax on plywood to create different shapes and textures on black-and-white square panels. The surfaces have architectural references like windows, doors, and walls. Johnston’s abstracted works allow for meditation on line, color, and form.

Though these artists follow in the Minimalist tradition and utilize hard-edged, geometric shapes, they respond to the space in which they are exhibiting and thus transform it. Three British Artists in their 70s is engaging and witty, challenging visitors’ expectations and what they believe they are seeing.