In the Crenson Gallery
Featuring works by Barrett Member Artists:
Thank you to the members who submitted to this Juried Members’ Show now on view in the Crenson Gallery. The submissions were of the highest quality and included many mediums. My task as juror was challenging. I made selections based on concurrent themes that arose amongst the submissions, resulting in a figurative exhibition that comments on labor and science.
Nancy Fauld’s photograph, Scranton Lace Factory, is of a tattered wingback chair. This textile factory was established in 1890 and closed in 2002. While the image is simple, reading the title gives the work a context that then conjures the history of industrialization and progress in America. The chair sits in for the abandoned American factory worker.
Barbara Masterson's painting, Cowboy, depicts a man wearing a cowboy hat in a field carrying baskets of produce. The irony of her title questions the romanticized image of the American cowboy with the reality of today’s farm workers. Her contemporary portrait of Ronan, captures a young man on an urban street corner, bathed in light.
The Dance, a painting by Pam Krimsky, celebrates the out-of-doors. People are dancing to fiddle music under the clouds. It suggests the simple pleasures of dancing after work well done. Krimsky’s painting is a modern-day reworking of the American Social Realism of the 1930s.
Eric Lindbloom's subtle photograph, Geoffrey Good Jewelry, focuses on a dress form displaying a designer necklace. This item of desire is probably not accessible to the 99 percent.
Jose Gomez's three works on mango paper do not contain the human form, however they use a figure-ground relationship for their success; in each a color "figure" rests on a patterned surround. Gomez, also a mathematician, uses formulas to derive his patterning.
Jim Allen's photographs, Body 1-3, layers vintage anatomical imagery showing, musculature, organs, and the digestive system over an anonymous body. A look inside us, because the biological images seem to be antiquated Allen raises the question for viewers, do we really know what lies under our skin? Is our impression a vague memory from what we learned in high school biology?
Dan McCormack’s pin-hole camera photos include, Tricia, winner of Best in Show. This androgynous image of Tricia is beautifully composed with the figure’s leg extended so her let foot touches the bottom center edge leading the viewer into the photograph. McCormick’s use of contrapposto creates a timeless portrait within a familiar, yet distorted environment.
Monica d. Church