Aubrey Levinthal, Foggy Table, oil on panel, 16 x 16
We went to see Lauren Garvey, Aubrey Levinthal, and Eileen
Goodman’s openings at Gross McCleaf. Levinthal is like the Bonnard of
Philadelphia; her transparent paints and reliance on bright, visionary
underpainting that gleams uncovered
gives these still lifes a euphoria and splendor.
Lauren Garvey’s abstract paintings make a more introspective
impression – mysterious, lower chroma meditations that leave charm behind for
something interrogative. They are deeper than Jasper Johns’ abstract painting,
but share his confrontational nature, as if to say “what’s this” of something
the viewer can come to know, but not understand.
Eileen Goodman’s realist watercolors display the abstract
organization of objects prepared for painting. The added element is done for
color and because it can be included. They then have a relationship akin to the
crowd and a showy outsider. The tone, however, is somber, making these
outsiders conscious and tragic as an Ayn Rand heroine (if there is such a thing;
if not, there should be).
Gross McCleaf Gallery
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