Tripoli Gallery

Installation view, © Tripoli Gallery

Installation view, © Tripoli Gallery

Installation view, photo by Richard Lewin © Tripoli Gallery

Installation view, © Tripoli Gallery

Installation view, © Tripoli Gallery

Installation view, © Tripoli Gallery

Installation view, © Tripoli Gallery

Installation view, photo by Richard Lewin © Tripoli Gallery

Installation view, photo by Richard Lewin © Tripoli Gallery

Installation view, © Tripoli Gallery

Installation view, © Tripoli Gallery

Installation view, © Tripoli Gallery

Black Monet I, 2013
Oil on linen
32 x 16 inches

Black Monet II, 2013
Oil on linen
32 x 16 inches

Sea Through Air, 2009
oil enamal on canvas
24 x 24 inches

Missed The Mist, 2009
oil enamal on canvas
24 x 48 inches

Shinnecock Bay, c. 1890s
oil on canvas
12-1/4 x 18 inches

Sting Ray, 1971
lithograph, collage drawn on transfer paper, printed from an aluminum plate with transparent black ink on Suzuki paper
51-1/2 x 37 inches

Wind Chop I, Wind Chop II, Wind Chop III, Wind Chop IV, 2008
Acrylic on canvas and denril
45-7/8 x 10-1/4 inches (overall)

BREAKING SURF, c. 1936-41
charcoal on paper
18 x 24 inches

STARFISH, c. 1938
oil on canvas
16 x 20 inches

Pink Ocean, 2013
oil on canvas
Diptych: 16 x 29 x 3/4 inches

Molly Water (written with emojis), 2013, 2013
mixed media
7-3/4 x 25 x 3-1/2 inches

Titled, 1996
silkscreen on 300-gram coventry rag vellum
31-5/8 x 39-3/4 inches

Seascape, 1965
screenprint and die-cut collage on blue Rowlux
13-3/16 x 24-15/16 x 3-5/8 inches

Blue Wave, 2013
Crystal
1-1/2 x 14 x 14-1/2 inches (3.8 cm x 35.6 cm x 36.8 cm)

Smoking Ships at Sea, 1907
Watercolor and pencil on paper
23-1/2 x 19-1/2 inches

Scott “The Cut” Cameron, 2013
mixed media and found objects
18-1/2 x 13 inches

Mecox, 2013
mixed media and found objects
12 x 5-1/2 inches

Straight Beach, 2013
mixed media and found objects
10 -1/2 x 16-1/2 inches

Beach, ca. 1974
oil on canvas
13-3/4 x 13-1/2 inches

Water XIX, 1998
Silver gelatin print on paper, edition 5 of 9
24 x 20 inches

Water XX, 1998
Silver gelatin print on paper, Edition 4 of 9
24 x 20 inches

Untitled, 2006
Silk screen and Xerox transfer on Japanese paper
22-3/8 x 27-7/17 inches (framed)

Bathing Beauty in The City of New York, 2013 | Waxed Up, 2013
oil on canvas
8 x 12 inches and 18 x 24 inches

Los La Butte (Tidewater Series), 1994
mixed media, neon, and found objects
35 x 17 x 21 inches

Red on the Run, 2012
Oil on linen
30 x 42 inches

The Shower, 2008
Oil and gesso on canvas and board
41 3/4 x 31 1/2 inches (framed)

Surface: Deep Water/Night Tides, 2012
Oil, fiberglass, staples, and wax on linen
46 x 64 inches

Water

August 15 ‐ September 9, 2013

Download Press Release

Water

August 15th-September 9th, 2013

Opening reception: Saturday, August 17th, 6-8 pm

Featuring work by Ross Bleckner, Stefan Bondell, William Merritt Chase, Willem de Kooning, James de Pasquale, Marsden Hartley, Mary Heilmann, Yung Jake, Roy Lichtenstein, Maya Lin, Thomas Moran, Matisse Patterson, Fairfield Porter, Clifford Ross, Lola Montes Schnabel, Nathalie Shepard, Keith Sonnier, Saul Steinberg, Billy Sullivan, and Darius Yektai.

Southampton, NY- TRIPOLI GALLERY is pleased to present a group exhibition entitled Water. This exhibition marks the gallery’s fifth year at its current location and brings together some of the Hamptons’ most pivotal artists from the 19th to 21st centuries focusing on the direct role the East End of Long Island has played on their work as well as an individualized appreciation for water as subject matter.

Water couples history and content to promote a dialogue between external influences and the lives that shaped American art as we know it today. From Thomas Moran to Maya Lin, all of the works exhibited, either literally

or metaphorically, portray a fascination with water as filtered through the lens of the artistic creation—blending environmental inspiration and cultural camaraderie. Through sculpture, found art, painting, drawings, and prints this exhibition highlights the development of the East End as a haven for artistic ingenuity in a landscape where city meets country, modern meets contemporary, and land meets sea. On a broader spectrum, Water brings attention to global environmental issues we are faced with today.

This exhibition seeks to share with the community a complex and engaging selection of artwork—featuring rare examples from important private and museum collections—spanning over three centuries. Juxtaposing works by emerging artists with those of contemporary and modern masters, Water acknowledges both the historical significance of a former generation and the vital contributions of our contemporaries as we move toward the future—connected through a continued need for and appreciation of water.

A percentage of proceeds from this exhibition will support WHOLE WORLD Water, an international campaign developed to help end the global water and sanitation crisis. WHOLE WORLD Water works to engage the hospitality and tourism industry to filter, bottle in reusable glass bottles, sell its own water, and contribute 10% of the proceeds to the WHOLE WORLD Water Fund. The WHOLE WORLD Water Fund is a democratic platform that grants funds to multiple charities, including charity:water, among others.

 

 

WATER-BORN

By Klaus Kertess

 

Water is the subject of this exhibition, curated by Tripoli Patterson, that calls back and updates a related exhibition titled “Sea Change” that was part of the 100th Anniversary celebration of the Parrish, in 1998. The ocean as main character. The ocean that surrounds us, the water that nourishes our agriculture, the farmland bordered by numerous beaches. The Atlantic Ocean almost always in sight on the southern tip of Long Island. The ocean provides vital relaxation, sport, jobs for fisherman, hobbies for surfers. The ocean that has become a prominent subject for local artists making a living partially from the sea, just as the fishermen do. Willem de Kooning summed up the painting side, when he declared oil paint was developed to paint flesh, as well as water – not just the ocean tides but bodies of fresh water as well – streams and lakes and more. The different bodies of water depicted in various works seen here remind us of the need to have clean water to be environmentally effective. The lush physicality of flesh and the continuous dance of water inhabit a considerable amount of space in this exhibition, bringing new life to paint’s liquidity and versatility. While a number of artists previously represented in “Sea Change” can be seen again in the liquefied terpsichore of this exhibition, a greater freedom and abstractness inhabits some of the works included here by younger artists, known and not so well known.

 

Who would have surmised that Keith Sonnier’s luminous neon, abstract contrivances so readily call to Willem de Kooning’s lushly arabesquing strokes, calling to breaking waves, or that the earlier paintings of John Marin might be summed up by his title “The Written Sea” given to a lyrical work created in 1952? Process has become more visible, perhaps more daring, often as bold and nearly as painterly as Winslow Homer’s “Kissing the Moon,” from 1904, in which three nocturnal fishermen barely visible in a rowboat are almost swallowed by the waves they are trying to navigate through, by the light of a luminous moon. Homer and Albert Pinkham Ryder have become more than Old Masters. Ryder was one of the very few painters that Pollock was willing to learn from; and Ryder was surely one of the older masters Fairfield Porter consulted, just as he did the viscous beauty of Franz Kline’s and Pollock’s abstractions, so openly revealing their process. And Kline would surely have been as aware of Ryder’s dramatic viscosity as was Pollock.

 

Here and there, Malcolm Morley’s masterful depictions of water have surely influenced some of the younger liquefiers encountered in the present display, although Morley has not joined the water travel this time. Roy Lichtenstein’s glorious screenprint, “Seascape” with its rectangular, riotous staging of Technicolor polka dots reveals his masterful re-purposing of the ordinary that enlivens so much of his art. And Thomas Moran’s 1907 watercolor and pencil on paper, “Smoking Ships at Sea” elegantly reminds us of the sea’s mastery over materiality. Keith Sonnier’s “Los La Butte,” created in 1994, makes him a seasoned representative of all those sorters and ponderers of beach detritus that all but magically are called upon to enlighten the ocean’s power with the utterly ordinary. Marsden Hartley has given us a charcoal “Starfish,” 1938, perhaps snared from his charcoal representation of “Breaking Surf,” 1936-41 to be joined by De Kooning’s lithographic portraitizing of a “Sting Ray” created in 1971. Billy Sullivan’s representation of his dog, Red, racing after a ball at a bay beach makes sure to let us know how important the sand can be to our canine companions – in one of his elegantly conceived and painted landscapes. Maya Lin’s “Blue Wave,” 2013 seems to freeze the continuous ripple of the ocean’s surface into an unlikely but beautiful frozen rectangular parade of crystal peaks. The pleasures of this liquidity continuously lie in wait for our searching eyes to surprise, edify and delight.

 


Installation view, © Tripoli Gallery


Installation view, © Tripoli Gallery


Installation view, photo by Richard Lewin © Tripoli Gallery


Installation view, © Tripoli Gallery


Installation view, © Tripoli Gallery


Installation view, © Tripoli Gallery


Installation view, © Tripoli Gallery


Installation view, photo by Richard Lewin © Tripoli Gallery


Installation view, photo by Richard Lewin © Tripoli Gallery


Installation view, © Tripoli Gallery


Installation view, © Tripoli Gallery


Installation view, © Tripoli Gallery

Ross Bleckner
Black Monet I, 2013
Oil on linen
32 x 16 inches

Ross Bleckner
Black Monet II, 2013
Oil on linen
32 x 16 inches


Sea Through Air, 2009
oil enamal on canvas
24 x 24 inches


Missed The Mist, 2009
oil enamal on canvas
24 x 48 inches


Shinnecock Bay, c. 1890s
oil on canvas
12-1/4 x 18 inches


Sting Ray, 1971
lithograph, collage drawn on transfer paper, printed from an aluminum plate with transparent black ink on Suzuki paper
51-1/2 x 37 inches

James de Pasquale
Wind Chop I, Wind Chop II, Wind Chop III, Wind Chop IV, 2008
Acrylic on canvas and denril
45-7/8 x 10-1/4 inches (overall)


BREAKING SURF, c. 1936-41
charcoal on paper
18 x 24 inches


STARFISH, c. 1938
oil on canvas
16 x 20 inches

Mary Heilmann
Pink Ocean, 2013
oil on canvas
Diptych: 16 x 29 x 3/4 inches

Yung Jake
Molly Water (written with emojis), 2013, 2013
mixed media
7-3/4 x 25 x 3-1/2 inches

Roy Lichtenstein
Titled, 1996
silkscreen on 300-gram coventry rag vellum
31-5/8 x 39-3/4 inches

Roy Lichtenstein
Seascape, 1965
screenprint and die-cut collage on blue Rowlux
13-3/16 x 24-15/16 x 3-5/8 inches

Maya Lin
Blue Wave, 2013
Crystal
1-1/2 x 14 x 14-1/2 inches (3.8 cm x 35.6 cm x 36.8 cm)


Smoking Ships at Sea, 1907
Watercolor and pencil on paper
23-1/2 x 19-1/2 inches

Matisse Patterson
Scott “The Cut” Cameron, 2013
mixed media and found objects
18-1/2 x 13 inches

Matisse Patterson
Mecox, 2013
mixed media and found objects
12 x 5-1/2 inches

Matisse Patterson
Straight Beach, 2013
mixed media and found objects
10 -1/2 x 16-1/2 inches


Beach, ca. 1974
oil on canvas
13-3/4 x 13-1/2 inches


Water XIX, 1998
Silver gelatin print on paper, edition 5 of 9
24 x 20 inches


Water XX, 1998
Silver gelatin print on paper, Edition 4 of 9
24 x 20 inches

Lola Montes
Untitled, 2006
Silk screen and Xerox transfer on Japanese paper
22-3/8 x 27-7/17 inches (framed)

Nathalie Shepherd
Bathing Beauty in The City of New York, 2013 | Waxed Up, 2013
oil on canvas
8 x 12 inches and 18 x 24 inches

Keith Sonnier
Los La Butte (Tidewater Series), 1994
mixed media, neon, and found objects
35 x 17 x 21 inches

Billy Sullivan
Red on the Run, 2012
Oil on linen
30 x 42 inches

Darius Yektai
The Shower, 2008
Oil and gesso on canvas and board
41 3/4 x 31 1/2 inches (framed)

Darius Yektai
Surface: Deep Water/Night Tides, 2012
Oil, fiberglass, staples, and wax on linen
46 x 64 inches