Pin It
Favorite

Master Class 

“Masterworks,” paintings by Pat Adams, William Bailey, Bernard Chaet, Lois Dodd, Paul Resika and Steve Trefonides, BigTown Gallery, Rochester. Through August 23.

click to enlarge “June, Early” by Bernard Chaet - MARC AWODEY
  • Marc Awodey
  • “June, Early” by Bernard Chaet

Shows by so-called “emerging” artists are often filled with undeveloped ideas and brash experiments. Such is not the case with “Masterworks,” currently on view at BigTown Gallery in Rochester, Vt. This is a dynamic exhibition showcasing six of New England’s most distinguished, mature artists — the youngest painter in the group was born in 1930. The works, however, are fairly recent; all but two pieces were created since 2000. The “masters” — Pat Adams, William Bailey, Bernard Chaet, Lois Dodd, Paul Resika and Steve Trefonides — have résumés laced with extensive honors and lifetimes of major exhibitions. A group exhibition by these accomplished artists in central Vermont is a major event.

Pat Adams’ work here is less concerned with vibrant hues than with texture; her fields of subdued color often include foreign objects. The 40-by-78-inch “Offering” is a blend of oil, grit, shell, enamel and something called isobutyl methacrylate on linen. Yet even with such a long materials list, the painting is monochromatic, and dramatic. The majestic beige piece is organized on a matrix of horizontal lines and two large, abstract circles. “Things” is a 2001 mixed-media work on paper with grit worked into a black circle at far left. Red-orange circles, and white lines that move like ionized particle trails through a cloud chamber, appear in a dark gray color field.

Like Matisse, Lois Dodd uses black to anchor her compositions. Her “River Bank, Vermont” is a winter landscape with a high, blank horizon, simplified in a Matissian manner. A gentle white slope unfolds beneath the black, and two sketchy but perfectly defined, denuded trees inhabit the space.

Paul Resika’s 19-by-22-inch oil from 2006, entitled “Island Pink and Green,” is also highly simplified. He added soft outlines around his abstracted green trees and positioned them in a pink background. The ethereal quality of the pink reveals features beneath it, perhaps earlier incarnations of the subject. Resika’s painting seems spontaneous, à la Milton Avery; he confidently lets forms remain barely worked.

Bernard Chaet and Steve Trefonides are the explosive colorists of the show. The latter artist creates figurative fantasias of convivial groups dining and partying, defined with broken, gestural brushwork and rich layers of paint. Background and revelers seem to run together. But there’s an inner compositional logic to Trefonides’ paintings as well, and movement is paramount in his aesthetic.

The 40-by-35-inch “Shepherd Hotel” of 2005 is built around a purple/yellow harmony, with the darker hues placed more deeply into the picture plane and a sea of yellows where the figures play. But a broad lilac form in the foreground, at the bottom of a central vertical axis, might be a figure with his back to the viewer. Such an element flattens space ever so slightly. Trefonides’ 19-by-20-inch oil “Market Day” features loosely drawn figures in the foreground and washed greens and blues above a rambling horizon line, about halfway up the canvas.

Chaet creates layers with heavy scumbling. The 30-by-30-inch “June, Early” of 2004 is an abstract landscape with wonderfully layered hot orange and peach piled over their complementary hues. Textures are thick and exuberant. But as in Trefonides’ paintings, Chaet hangs colors from structural passages that are like compositional skeletons. “June, Early” has a sky of subtle elliptical clouds. The craggy foreground of Chaet’s horizontal “Dark Edge” is a series of mossy, overlapping triangles.

While youth has its advantages, the cachet wears thin in comparison to a long lifetime of creative excellence. In art making, at least, age is a good thing.

Got something to say? Send a letter to the editor and we'll publish your feedback in print!

Pin It
Favorite

More by Marc Awodey

  • Ground Crew
  • Ground Crew

    Art Review: Wendy James, Lynn Rupe and Carolyn Hack, Burlington International Airport
    • Dec 14, 2011
  • Net Gain
  • Net Gain

    Art Review: Barbara Wagner, Green Mountain Fine Art Gallery
    • Dec 7, 2011
  • Branching Out
  • Branching Out

    Art Review: “Trees,” Bryan Memorial Gallery
    • Nov 23, 2011
  • More »

About The Author

Marc Awodey

Marc Awodey

Bio:
Painter, poet, writer, musician, guerilla publisher and numismatist Marc Awodey, 1960-2012, was the Seven Days arts critic for more than a decade before his death at age 51. We all miss him.

Comments

Subscribe to this thread:

Add a comment

Seven Days moderates comments in order to ensure a civil environment. Please treat the comments section as you would a town meeting, dinner party or classroom discussion. In other words, keep commenting classy! Read our guidelines...

Note: Comments are limited to 300 words.

Latest in Art Review

Social Club

Like Seven Days contests and events? Join the club!

See an example of this newsletter...

Keep up with us Seven Days a week!

Sign up for our fun and informative
e-newsletters:

All content © 2016 Da Capo Publishing, Inc. 255 So Champlain St Ste 5, Burlington, VT 05401
Website powered by Foundation