George Ott of Hamilton, New Jersey, in his 1920 Raceabout at Ellarslie, the Trenton City Museum in Cadwalader Park.
If historic preservationist Clifford Zink could travel back in time, he’d have to make at least three stops in New Jersey’s capital city. He’d want to land in 1845, at the site of what is now Waterfront Park, where Peter Cooper started a rolling iron mill. “They were rolling the first I-beams in America,” says Zink. “I’d want to walk around that factory and see the steam-powered operations.”
Next, he’d want to get off the time machine in 1849, to see Brooklyn Bridge designer John A. Roebling & Sons build the largest wire rope factory in the world. Today, Roebling Market occupies that space; Zink offers an historic tour of Roebling Iron Works each year during the annual Art All Night event in Trenton.
His time travels wouldn’t be complete without a stop in 1912 at the Mercer factory on Whitehead Road. “They made about 500 cars a year—that’s about two a day—by hand,” Continue reading
Scott Noel is an art school painter. That is to say, he paints life at art school. His scenes are set at the institutions for whom he’s taught: University of the Arts, Arcadia University, Community College of Philadelphia and the Pennsylvania Academy of Fine Arts, where he has been on the faculty since 1996.
In “Breaking the Pose”—a canvas that is 7 feet tall and almost equally wide—you can almost smell the oil paint that isn’t even visible in the scene surrounding a voluptuous Continue reading
“Of all the arts, abstract painting is the most difficult,” said Wassily Kandinsky (1866-1944), often referred to as the father of abstract painting. “It demands that you know how to draw well, that you have a heightened sensitivity for composition and colors, and that you be a true poet. This last is essential.”
Curator Margaret O’Reilly uses Kandinsky’s quote as the jumping off point for Abstract Expressions: Selected Works from the New Jersey State Museum at The College of New Jersey Art Gallery January 27 through February 28, with an opening reception January 27, 5-7 p.m. On view are works by Mel Edwards, Lee Gatch, Yayoi Kusama, Louise Nevelson and many others.
“When people hear ‘abstraction,’ they think of Jackson Pollock,” says O’Reilly, “or art with no subject. They think ‘I can do that.’ But it’s not so simple. It was groundbreaking Continue reading
The Brooklyn studio of Ursula von Rydingsvard is redolent of cedar. For more than 30 years she has been incising monumental cedar forms using a hand-wielded chainsaw. Wearing black pants and turtleneck, von Rydingsvard, 73, runs up and down a flight of steel stairs all day, as well as climbing ladders to look inside her sculpture, before taking a taxi home to her husband, neuroscientist and Nobel Prize winner Paul Greengard.
All around are the 4-by-4-inch cedar beams the sculptor works with. Her abstract shapes are like vessels and suggest primitive dwellings, Continue reading
Visitors to Grounds For Sculpture observe how Magdalena Abakanowicz’s “Space of Stone”–a work that itself conveys a greater power–is enhanced by the long shadows of the sun sitting low in the sky.
Part of a series that includes major installations in Italy, Korea, Lithuania and Poland, the work seeks to “change sculpture from object to look at to space to experience,” writes the world-renowned sculptor. “I am confronting the imagination of man with the imagination of nature… What is the meaning of man’s creativity in comparison with nature’s wisdom? This coming together of two different powers creates the space to contemplate.
“Sculpture does not decorate but is part of the metaphoric language which conveys more than we can express in words,” she continues. “We must enter it, penetrate, become part. We learn about our scale and the scale of the surroundings.”
One way to get to “Space of Stone” is by walking through a red maple allée. Sunlight seeps Continue reading
The guards are back! Oh, yes, the living breathing ones, sure, but also Fred Wilson’s “Guarded View,” four headless mannequins made of wood, paint, steel and fabric, dressed as museum security guards, reflecting on the nameless identifies of those empowered to protect our cultural assets. On the day of the press preview for the new Whitney Museum of American Art in New York’s Meatpacking District, a security guard leaning near the label for this work moved quietly out of the way when she saw, from my squinting eyes, Continue reading
There are many ways to fall in love with Patricia Lange, beginning at the front lawn of her Hopewell home. Large, stainless steel modern sculpture and black Louise Nevelson-like formations keep company with circular enamel pieces that evoke the moon, and masks in mediums from aluminum to clay.
A grouping of clay masks leads you up a brick path to the front door, Continue reading
Standing on the rooftop of the Brooklyn Navy Yard, looking out on the Manhattan and Williamsburg bridges spanning the East River, we see water towers, smokestacks and red brick housing below us, and Freedom Tower in the distance. It has been called the best Continue reading
When Roman Polanski needed a building in which to set the satanic cults and witchcraft of the 1968 film Rosemary’s Baby, he chose the Dakota, at the northwest corner of 72nd Street and Central Park West. With its profusion of Gothic dormers and high gables, terra cotta spandrels and balconies, it suggested hidden passageways to the occult.
The Dakota also had a role in the 2001 Cameron Crowe film Vanilla Sky. Protagonist David Aames, played by Tom Cruise, owns two apartments in the Dakota, elegantly outfitted with Continue reading
Searching for my first New York apartment, I discovered Red Hook. I could barely afford anything on my editorial assistant salary — an apartment in Chelsea had the bathroom in the kitchen, and even Park Slope was beyond my means – but in this Brooklyn enclave I’d found a third-floor walkup with fluted columns separating the living room and dining room, and a view of the waterfront and lower Manhattan. Of the three bedrooms, one would be my darkroom and one would be my writing studio. I put down a deposit and Continue reading