Several artists we have highlighted have current or upcoming exhibitions and have received laudatory notice in the news, including Lennart Anderson, Dahlov Ipcar, Robert Andrew Parker, and George Wardlaw.
Exhibition of Early and Late Paintings
October 25 - November 18, 2017
Leigh Morse Fine Arts
New York, NY
On view will be Anderson's last painting from 2015, “Three Nymphs on a Bluff,” on which he worked until two weeks before he passed away. In the catalog essay that accompanies the show, “The Glories and Limits of Sight,” John Yau observes that Anderson “was as devoted to the puffed out, aluminum foil dome of a Jiffy Pop package as he was to the nuanced, atmospheric light in a mythical tableau of three nudes gathered on a bluff. Simultaneously meticulous and unpredictable in his work, Anderson’s contradictions are cause for celebration.”
Dahlov Ipcar’s Century
Through January 7, 2018
Rachel Walls Fine Art
Cape Elizabeth, Maine
A Selection of works in various mediums from the beginning to the end of this artist’s 80-year career.
Robert Andrew Parker
Robert Andrew Parker was included in a series of appreciations posted by The Horn Book in celebration of the fiftieth anniversary of the Boston Globe-Horn Book Awards. About him, Leonard S. Marcus writes: “During a career that is now in its seventh decade, Parker has been a painter, New Yorker illustrator, and picture book artist, and has somehow always flown a little bit under the radar… Parker’s drawings have a freedom of line and spirit, and a dead-on inevitability, that I associate with Edward Ardizzone and only a very few other illustrators of our time. There’s more art — and life — in a Parker drawing than in a lot of the shinier objects coming down the pike… “I invite readers to ‘take a second look’ at the art of Robert Andrew Parker.” For the full appreciation: http://www.hbook.com/2017/06/authors-illustrators/bghb-at-50-cold-feet-by-cynthia-defelice-illus-by-robert-andrew-parker/
October 9 – November 9, 2017
Greenfield Community College
On display will be artist George Wardlaw’s recent, post-macular work, in which, among other things, he borrows and recombines elements from his earlier paintings to create new tableaus that reflect upon and evolve a lifetime of creativity.