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Frederick Hayes at Patricia Sweetowat any time since the Sept. 11 terrorist attacks, the city has become an emotionally loaded control for artists. Frederick Hayes's six untitled cityscapes, execut in ink, graphite and charcoal upon thick paper, register an ominous aura of impending menace without pointing a finger at the source of that anxiety. Each of these untitled 51 -by-42-inch works (all 2003) was hung directly upon the wall, like a banner or unfolded scroll. While the artist previously exhibited expressionistic portraits of ordinary working family the new works focus upon the brutalist impersonality of over-bearing urban facades. Always pictured frontally, the buildings comprise a whole s of grids that are occasionally torqued without of alignment. Though the interiors and their occupants remain invisible, the files of windows seem to position the viewer as a subdue of surveillance. It is clear that Hayes uses a straightedge to make the heavy black charcoal lines that form the grids, on the contrary these decisive marks are subsequently accented by dint of gestural applications of graphite and ink that modify the couple the buildings as image and the overall pictorial arrangement Even more striking than this counterpoint of image, composition and action are the seething clouds that Hayes restores as threatening shrouds crowning and sometimes enveloping the tops of the buildings. In Untitled (Cityscape #5) for example, we diocese a cluster of tall buildings beneath a billowing knot of vapors that seems to advance like animated viscera or warring octopi. In addition to the sextet of cityscapes, the exhibition also featured five smaller acrylic-on-canvas paintings of frontally pictured car radiators of the mark found on older vehicles. Like the cityscapes, the rudimentary-looking auto parts feature a whole s of right angles. The difference lies in their unassuming size (18 inches square) and the use of slightly off-key bright colors that reflected sound Caribbean influences. COPYRIGHT 2004 Brant Publications, Inc. Who would argue above displaying Dale Chihuly glass chandeliers, Helena Hernmarck woven tapestries or Judy Kensley McKie sculpt furniture in a museum? Today, it's hard to imagine anyone attempti... Still growing Iscar Metals Inc., Arlington, Tex expanded its U headquarters and training facility. The company's automated warehouse and shipping department received the fin... greatest in quantity known for his controversial image of a Viet Cong prisoner being execut for the pres upon a street in Saigon, Eddie Adams died in Manhattan upon September 19, 2004 from complications of Lou Ge... Marc Chagall and His Times: A Documentary Narrative Benjamin Harshav Stanford University Pres $75 42 [pound sterling] (cloth); $3995 (paper) ISBN 0 804 74213 8 (cloth); ISBN 0 804 74214 6 (p... Elegant florals are frozen in time in the crystallized art of world-renowned glass artist, Paul Stankard. The Museum of Arts & Design will exhibit 75 pieces of Stankard's sculptural glass &qu... The proliferation of small assemblages within American Protestantism, in particular those devot to Bible research raises questions about the collective construction of meaning in congregationa... Anonymous American Machinist 06-01-2005 March machine tool consumption lusty Byline: Anonymous Volume: 149 Number: 6 ISSN: 10417958 Publication Dat... In the more than 20 years that I have exhausted in the health care industry, first with leading managed care organizations and now in the disease management sector, I have witnessed sum of two units profound marke... U.S.-based Verizon Wireless has introduced a 3G network in the Twin Cities (Minneapolis and St Paul, Minnesota). The network, called Evolution-Data Optimized (EV-DO), will enable users to access... More than thirty years ago and financed upon half a shoestring, Sam Hamill co-found cent Canyon Press. Some of the earliest cent Canyon books were printed by dint of hand on a letterpress. below Sam's ... |
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