The Morrison Gallery is showing works by Warner Friedman, Jean-Claude Goldberg, Gary Komarin, Jonathan Perlowsky, Jonathan Prince and Janet Rickus. The show runs until Sunday, May 29.
New York City native Warner Friedman was an engineer early in his life, but soon dedicated his talents exclusively to art. His meticulously detailed natural scenes are framed by some architectural structure, such as a window, a door, a fence, a balcony, leading one critic to write, “one doesn’t look at Warner Friedman’s paintings, one looks through them.”
Jean-Claude Goldberg was born in Paris in 1939 and attended the School of Fine Arts in Paris where he worked as a graphic designer in the 1960’s before moving to New York. In 1968 he started a career on Madison Avenue as a creative director. He became a full-time artist after founding his own creative advertising agency.
Another New York City native, abstract painter Gary Komarin “does in his paintings what acrobats do on the high wire” says critic Hamlett Dobbins, adding that Komarin’s works “create a sense of absurdity in the painting: they are imprecise, quirky, and even romantically fanciful.”
Contemporary artist Jonathan Perlowsky has had a rich career marked by constant experimentation with color, image and surface quality that spans three-decades and evolves through several distinct styles. He had his first solo exhibit in 1981 at the age of 28 at the early breakaway Westbroadway Gallery in Manhattan.
Jonathan Prince’s sculptures explore the expansive potential for formal and expressive variety latent in stone, placing the emphasis on elegance, precision, and material qualities. Sinuous, organic volumes suggest the presence of a fluid element within solid granite, while pristinely polished surfaces and perfect geometries create a contrasting machine aesthetic. Prince’s geometric abstractions and clear awareness of both mass relationships and surface qualities demonstrate his artistic inheritance from Constantin Brancusi, Jean Arp, and other masters of twentieth century modernist sculpture.
Janet Rickus’s still lifes are painted actual size, at eye level, and are often arranged on a surface covered with crisply ironed or softly draped table linens. A native of Massachusetts, Rickus prefers the shapes and stability of fruits, vegetables and flowers, which she paints during the day in natural light. Her “Three Pears” was the cover illustration of Harvard professor Marjorie Garber’s book, Vice Versa: Bisexuality and the Eroticism of Everyday Life, and Garber used slides of Rickus’s work at a colloquium at the Centre Pompidou in Paris.
The Morrison Gallery is a 7,000 square foot space in the historic Old Barn section of Kent and is home to an on-going schedule of exhibitions by prominent local and national artists.