Paintings, photographs, little sculpture, and even some long, dangling mobiles and furniture created of discarded wood scraps would all fit in a home. There's really modest work that appears out of scale or intended for your public or a museum setting. These are organizations and because they intend to sell the jobs to upper-middle class shoppers who are willing to spend in between $500 and $6,000 in your jobs of art there's not a lot that's disturbing or shocking. Thus work that is certainly in any way surprising generally surprises with wit rather than with shocks or by raising hard questions.
This is clear in a single exciting show at Flowers West. The exhibit consists of oil paintings by John Keane and is entitled "Trading Flaws and Sporting Mistakes" (27 February - 17 April). Keane's paintings consist of two series--one based on the trading floor with the stock marketplace as well as the other on moments in soccer matches. The title "Trading Flaws" looks to be a pun over a word "trading floor" in which the frantic exercising of buying and selling goes on. The paintings are done inside a somewhat realistic type with exaggerated variations between light and dark that highlight certain figures. The Trading Flaw (1998) and Trust in God (1998) are each large canvases packed with human figures. The very first painting is about 9 x 8 feet and the second is approximately 8 x 7 feet. In Trading Flaw the picture shows many fig
ures from about chest height, packed into a crowd and raising their hands and signaling with raised fingers and closed fists. The picture represents the crowd over a trading floor and is meant being active and exciting. But all the excitement comes from the roughly employed paint and the sharp contrasts in color. The space the figures occupy is entirely unconvincing and also the drawing is dull. The second jobs stands out as the exact same sort of arrangement except that rows of brightly lit personal computer screens run diagonally across the canvas and the human figures are a lot more or much less stuffed into the rows between them. These works are known as "oil and mixed media" but the second media is dollar bills which are glued on the surface from the canvas and run (one row deep) close to its edge.
Another show, at the Gail Harvey Gallery, sticks close to a conventional genre, but the works are fascinating and pleasing at the exact same time. The exhibit in the gallery's artists is known as "Recent Landscape: Eric Aho, Sally Cleveland, Charles Field, Larry Gray" (20 March - 24 April (1999). The four painters jobs in similar,, but distinct, styles and also the works in this show are all landscapes painted inside a somewhat impressionistic manner, with swift brushwork, intense colors, and tiny sharp definition of objects. Most feature low horizon lines and a lot of sky. Despite the uniformity of this description they're striking pieces and the various styles in the artists are incredibly apparent.
The titles of these works, the frantic crowds, and also the dollar bills framing them are supposed to serve as a commentary over a subject. But all these information seem like easy decoration that's meant to turn ordinary genre paintings into ironic, meaningful art. Stripped of the dollar bills as well as the titles they would be practically nothing but rather mediocre pictures of people producing their jobs. Like the excitement supplied by all of the splotches of vivid color and also the crowding with the figures all these little ironic touch.
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