Category: Art Review

Brendan J. O’Reilly | Southampton Press

“Biophilia” is a hypothesis, popularized by naturalist E.O. Wilson, that humans have an innate affinity for nature and a tendency to interact with other forms of life.

To artist and designer Robert Remer, the term speaks to his studio’s practice: merging manmade materials with plants to create furniture, sculpture and wall art.

Mr. Remer said Monday that examining the relationship between man and nature as a grand narrative has always been an interest of his,
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By Annette Hinkle

Lauren Lyons has made it her mission to tell stories through the photographs she takes… Though Lyons controls every aspect of what appears in the frame — from the models and the costumes to the color scheme, props and setting — the responsibility of ultimately determining exactly what story the image is telling lies with the viewer…

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As we celebrate this timely exhibition of Norman Carton’s phenomenal burst of works on paper in the Fifties and Sixties, let’s consider the rhythms of history, particularly the way a sudden boom is followed by a long echo. This is the pattern by which innovation is assimilated into a style. The works on paper by Carton that the Quogue Gallery, which has distinguished itself in this space of rediscovering great Abstract Expressionist art,
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by Peter Hastings Falk, Editor & Curator, Discoveries in American Art magazine

Jeff Muhs paints subliminal seductions. In the series, Deliverance, he orchestrates a balance of rhythms, colors, and compositions that induce us to embark on that voyage when flowers make their irrepressible emergence in spring and bloom into summer gardens. But this garden path is not radiating riotous color. Nor do these flowers foist upon us the saccharine colors and static compositions arranged in the stereotypical tabletop still life.
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Quogue Gallery is pleased to share the following excerpt from Hamptons Art Hub’s review of our current show, SUSAN VECSEY | PAINTING, on view through October 2:

“Quogue Gallery proves to be a great place to see such wonderful art, and the Vecsey show is a gem. It’s like a visit to the beach, probably your favorite beach, every summer and in every type of light.”
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Melinda Zox cut her baby teeth on abstract art. The daughter of two artists—Larry Zox, a seminal force in geometric abstractions and the color field movement of the 1960s, and Jean Glover Zox—she grew up in the heart of the bustling, buzzing downtown New York art scene. Now, years later, she’s found a deeper serenity in both location and practice.

Related Content: 9 in Art

Not every child wants or chooses to follow in their parents’ footsteps,
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Long live the tradition of the figure in abstract painting! For a classic example, consider the seamless way that Fay Lansner integrates the academic ethic of the life class with the sensuality of Abstract Expressionism. In “Fay Lansner: Figure and Form”—the intelligent and sensuous exhibition on view until August 23, 2018 at the Quogue Gallery—the artist reconciles what are conventionally held to be disparate aesthetics with the charm of appealing color and the authority of confident line.
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In the artist’s statement for her exhilarating “Conversation in Color” exhibition of paintings and works on paper at the Quogue Gallery, Melinda Zox writes about painting being in her blood. Coming from the daughter of the brilliant abstract colorist Larry Zox and his wife Jean Glover Zox, also an artist, the statement can be taken literally. As the artist notes in the statement, her formative years presented “a continual lesson in the experience of art and creativity.
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Partway around my second tour of the Sally King Benedict show of paintings and drawings pulsing with bright colors at Quogue Gallery, I was still searching for the right word for the arc sweeping upward in many of the works. Then I returned to the aptly titled Going Light and Bright Face. The painting—beaming out from the main wall in the light-filled rear gallery as the keynote to the exhibition—gave me the answer: The billowing gesture should be read as a smile.
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It can feel unsettling to discover works by an artist that differ from expectations. Especially when the art departs from a long-standing signature style so entrenched that it feels natural to inquire if the new approach might be the result of a life-changing event. But this kind of dramatic change can also stem from the decision to embrace the artist’s predilection to roam and leave the familiar behind while bringing hard-won experience to use as a guide.
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