HomeMy WebLinkAboutSeptember 30, 1993 - Focus on Nature_ Autumn Dawn20
Perspectives
Ferren Show at Pollock- Krasner
By Robert Long
The Pollock- Krasner House and Study
Center, on Springs - Fireplace Road in
East Hampton, is about halfway
through its three -month-long exhibition
of the earlier works of John Ferren. The
Pollock - Krasner House is one of three
museums showing works from different
periods in the artist's career. The Uni-
versity Art Gallery at the State Univer-
sity at Stony Brook is showing Ferren's
nature-based abstractions of the 1950s,
and the Godwin- Ternbach Museum of
Queens College is exhibiting the artist's
hard-edged abstract paintings from the
last decade of his life.
Formative Years: The 1930s in Paris
and Spain" is the name of the Pollock -
Krasner House's part of the overall
show (all three exhibits were curated by
Helen Harrison, director of Pollock -
Krasner, and all are running concur-
rently). There are 15 works on view, in-
cluding nine oils on canvas or board,
several watercolors, and a woodcut.
John Ferren was born in 1905 and
grew up in various Western states (his
father worked for the Indian Service).
After high school, he worked for the tele-
phone company and did some stone-
carving. It wasn't until this time, when
he was in his early 20s, that Mr. Ferren
took up painting seriously. He traveled
from California to Paris in 1929 with
money earned from carving decorative
stonework, and, after returning to the
U.S. for a period, went back to Paris in
1931 and stayed there for eight years.
This is the period covered by the cur-
rent show.
In Paris, Mr. Ferren met Picasso (he
helped to stretch the canvas for "Guern-
ica"), Mondrian, Mire, and Helion,
among others, and he soon became in-
terested in the classical abstraction of
the period. Although the artist's work
belongs, if one can say that it "belongs"
to any particular "movement," to the
phenomenon of Abstract Expression.
ism, Mr. Ferren himself seems to have
been by nature far more thoughtful than
impulsive.
Like his contemporaries, he rejected
subject matter "; he was interested in
the unconscious and its role in the crea-
tive process, but it was characteristic of
him to value precision and craft in his
work. There is never a sloppy moment
in a Ferren picture; even when he uses
gesture, the brushstroke seems a record
of the concept of a gesture —a realized
idea —rather than an emotional slash of
paint. In Arts Magazine, he once wrote
that "my own (fatal ?) impulse is
toward clarification."
It is, however, the tension between the
artist's desire for clarity —for direct
communication —and the mode in which
he worked, abstraction, which is by def-
inition a dissociation from anything
specific —that lends his best work its
considerable power.
The works on view at the Pollock -
Krasner House, while sometimes re-
vealing the artist's youthful debt to in-
fluences like Mondrian and Kandinsky,
are nonetheless singular achievements.
Mr. Ferren's use of biomorphic images
combined with hard arcs, and his inter-
est in the uses of space and depth in ab-
stract compositions are typical of
modernists of the day, but even at this
John Ferren's "Study on Blue" is included in the current show at the Pol lock - Krasner House.
early stage in his career the canvases
are evidence of a great deal of thought,
and on occasion we sense the
craftsman's firm control over his med-
ium banging up against raw impulse.
In person, pictures that look perfectly
flat in photographs often turn out to
have surfaces that are subtly textured.
The largest picture in the show, "Com-
position" (193437; 42 by 64 inches), for
example, includes a wonderful passage
in which Mr. Ferren mixes sand into his
pigment before applying it to carefully
cutout shapes of canvas which he then
glues on top of the main canvas. The re-
sult is that the picture, which is largely
occupied by deep red, mysterious bio-
morphic shapes that present us with all
sorts of riddles about depth in a rela-
tively shallow picture plane, is almost
perversely thrust into a whole different
space by the more heavily textured,
more dramatically chromatic shapes of
glued -on canvas. Yet there is, as always
in Mr. Ferren's work, perfect balance
in the picture; the relative wildness of
the small, sandpaper -like area is held in
check by the sheer size and the rela-
tively benign quality of the rest of the
image.
The beautiful "Green Abstraction"
1933, 23 by 35 inches) is a less adven-
turous picture, although the artist is
again playing with texture. Yellow arcs,
planet -like pink orbs, and waves of lilac
Boat in or zip across a field of softly con-
toured seas of two different greens.
Here and there the artist swipes Xs in
the paint with what literally appears to
have been a comb; he "combs out" the
color, ordering it into neat little furrows
that, from a distance, lend a delicate,
veil-like quality.
This picture, with a central sphere
that strongly suggests the moon or sun
in eclipse (a pink eclipse), and with
most of the image enclosed in two big
yellow arcs like parentheses, is the uni-
verse of abstraction and color accord-
ing to Ferren as he heads off from
Kandinsky into other directions.
In an untitled canvas from 1933 -34,
Mr. Ferren builds texture dramatically
by building up his paint merely a tad
more heavily in the central, hot, brick -
red area of the abstract image, and by
Where Do You Go for All the Gay Goings -On on the East End
You Go to -- • • East End Gay Organization
For information on upcoming social events, educational or political
forums & cultural activities call 324.3699 or write:
EEGO, Box 708, Bridgehampton, N.Y. 11932
nmptan Sq. G1112117
Artist Reception
Sat. Oct. 2, 8 -10 p.m.
Shelly Bartolinl - Large Abstracts
Robert De Carlo - Designer Furniture
8 Additional Artists - 7 Additional Rooms
B Beach Road Westhampton Beach, New York
516- 288 -8064
keeping the surface smooth at the edges
of the image. He is a calculating painter,
and such decisions, which would carry
little or no weight in the work of some
of his more melodramatic colleagues,
here seem extraordinary.
The small (9 by 13) "Study on Blue"
is an oil on pressed board of great paint-
erly delicacy: two larger forms, each
containing intricate small shapes, are
perfectly balanced, suspended in a void
of grayish -blue.
In "Mallorca" (1932, 22 by 36), two
central forms, suggesting a fish inside
another fish, inhabit a flat abstract field
in which also appear a black sun with
a dark gray corona and a big inverted
pink pyramid that literally holds down
the image; never has pink seemed such
a heavy color. Everything hinges on this
central form, without which the scat-
tered nonreferential shapes would seem
merely arbitrary.
Sea Forms" is a 1937 woodcut of
great delicacy —it's hard not to overuse
the word "delicacy" when talking about
these pictures —that says a great deal
about the artist's eye for textures and
how the two can work together.
The earliest work in the show, "Paris
Yellow" (1932, 22 by 36), is also one of
the most beautiful. A pale rectangle of
yellow-ocher, it is sparsely populated by
a floating carpet of bright yellow, a
door -like shape, and odd, elongated
forms that are like surfboards, or tri-
bal shields, or exclamation points. They
seem to prefigure the mysterious elon-
gated shapes that would often enter
very late Ferren pictures.
The catalogue to all three Ferren
shows, which are called, as a whole,
The Abstract Spirit: John Ferren," in-
cluding an introduction by Irving San-
dler and an excellent essay on Ferren
by Ann Gibson., is available at the
Pollock- Krasner House; be sure to get
one when you visit. It includes a num-
ber of insightful and sometimes very
funny quotes from the artist's writings
In an article spoofing academic Action
Painting, Ferren claimed that it had "a
certain speed limit- -325 miles per
hour ") as well as good reproductions of
several pictures.
The Pollock - Krasner House and Study
Center is open by appointment only (324
4929) Thursdays through Sundays from
11 to 4. The John Ferren show runs un-
til October 30. Don't miss it.
Last Week's Solution
O E LAN 0 1 E N A
ry-
East of —"
A T T A N 0
ix
N 0 0
55 - -do -well
VANS
ai .,,
E N O
8 C
sphere lead -in
a M O M E N F A
John Ferren's "Study on Blue" is included in the current show at the Pol lock - Krasner House.
early stage in his career the canvases
are evidence of a great deal of thought,
and on occasion we sense the
craftsman's firm control over his med-
ium banging up against raw impulse.
In person, pictures that look perfectly
flat in photographs often turn out to
have surfaces that are subtly textured.
The largest picture in the show, "Com-
position" (193437; 42 by 64 inches), for
example, includes a wonderful passage
in which Mr. Ferren mixes sand into his
pigment before applying it to carefully
cutout shapes of canvas which he then
glues on top of the main canvas. The re-
sult is that the picture, which is largely
occupied by deep red, mysterious bio-
morphic shapes that present us with all
sorts of riddles about depth in a rela-
tively shallow picture plane, is almost
perversely thrust into a whole different
space by the more heavily textured,
more dramatically chromatic shapes of
glued -on canvas. Yet there is, as always
in Mr. Ferren's work, perfect balance
in the picture; the relative wildness of
the small, sandpaper -like area is held in
check by the sheer size and the rela-
tively benign quality of the rest of the
image.
The beautiful "Green Abstraction"
1933, 23 by 35 inches) is a less adven-
turous picture, although the artist is
again playing with texture. Yellow arcs,
planet -like pink orbs, and waves of lilac
Boat in or zip across a field of softly con-
toured seas of two different greens.
Here and there the artist swipes Xs in
the paint with what literally appears to
have been a comb; he "combs out" the
color, ordering it into neat little furrows
that, from a distance, lend a delicate,
veil-like quality.
This picture, with a central sphere
that strongly suggests the moon or sun
in eclipse (a pink eclipse), and with
most of the image enclosed in two big
yellow arcs like parentheses, is the uni-
verse of abstraction and color accord-
ing to Ferren as he heads off from
Kandinsky into other directions.
In an untitled canvas from 1933 -34,
Mr. Ferren builds texture dramatically
by building up his paint merely a tad
more heavily in the central, hot, brick -
red area of the abstract image, and by
Where Do You Go for All the Gay Goings -On on the East End
You Go to -- • • East End Gay Organization
For information on upcoming social events, educational or political
forums & cultural activities call 324.3699 or write:
EEGO, Box 708, Bridgehampton, N.Y. 11932
nmptan Sq. G1112117
Artist Reception
Sat. Oct. 2, 8 -10 p.m.
Shelly Bartolinl - Large Abstracts
Robert De Carlo - Designer Furniture
8 Additional Artists - 7 Additional Rooms
B Beach Road Westhampton Beach, New York
516- 288 -8064
keeping the surface smooth at the edges
of the image. He is a calculating painter,
and such decisions, which would carry
little or no weight in the work of some
of his more melodramatic colleagues,
here seem extraordinary.
The small (9 by 13) "Study on Blue"
is an oil on pressed board of great paint-
erly delicacy: two larger forms, each
containing intricate small shapes, are
perfectly balanced, suspended in a void
of grayish -blue.
In "Mallorca" (1932, 22 by 36), two
central forms, suggesting a fish inside
another fish, inhabit a flat abstract field
in which also appear a black sun with
a dark gray corona and a big inverted
pink pyramid that literally holds down
the image; never has pink seemed such
a heavy color. Everything hinges on this
central form, without which the scat-
tered nonreferential shapes would seem
merely arbitrary.
Sea Forms" is a 1937 woodcut of
great delicacy —it's hard not to overuse
the word "delicacy" when talking about
these pictures —that says a great deal
about the artist's eye for textures and
how the two can work together.
The earliest work in the show, "Paris
Yellow" (1932, 22 by 36), is also one of
the most beautiful. A pale rectangle of
yellow-ocher, it is sparsely populated by
a floating carpet of bright yellow, a
door -like shape, and odd, elongated
forms that are like surfboards, or tri-
bal shields, or exclamation points. They
seem to prefigure the mysterious elon-
gated shapes that would often enter
very late Ferren pictures.
The catalogue to all three Ferren
shows, which are called, as a whole,
The Abstract Spirit: John Ferren," in-
cluding an introduction by Irving San-
dler and an excellent essay on Ferren
by Ann Gibson., is available at the
Pollock- Krasner House; be sure to get
one when you visit. It includes a num-
ber of insightful and sometimes very
funny quotes from the artist's writings
In an article spoofing academic Action
Painting, Ferren claimed that it had "a
certain speed limit- -325 miles per
hour ") as well as good reproductions of
several pictures.
The Pollock - Krasner House and Study
Center is open by appointment only (324
4929) Thursdays through Sundays from
11 to 4. The John Ferren show runs un-
til October 30. Don't miss it.
Last Week's Solution
JI
J J
U.S. CUSTOMS SEIZED 111A>iS
Handmade oriental rugs, acquired at U. S. Customs Service support division
auction in New Jersey seizure #88130300514, and multi -bale seizure # 91130300193 with rugs acquired
by liquidation auction of Newton Oriental Rug Fair, Inc. in Boston, MA plus others will be liquidated.
EACH RUG IS PROVIDED WITH ITS OWN CERTIFICATE.
Including certified hand made Oriental Rugs from China, India. Tran (Persia), Turkey, Egypt, Pakistan
more. Sizee',.- :. semi- antiques &Kilims
Situ : Suit. only, Oct. 3, at the
THE SOUTHAMPTON PRESS 1 SEPTEMBER 30, 1993
Weekly Crossword Puzzle
Edited by James C. Boldt and Joyce Nichols Lewis
GRANAMA ITEM"
By Nancy
Scandrett Ross
ACROSS
1 Nomadic
northlander
5 Obstruct
8 "La Dolce
1960 film
12 Excel
17 Vilification
19 Met show-
stopper
20 Take — leave it
21 Equipped like a
scull
22 Anagram of
INDICATORY
24 Anagram of
VICE CONSUL
26 Senorita's
chaperon
27 Missing
29 Hull stabilizer
30 Dapper fellow
31 Hon. degrees
32 Recovery
money
34 Friday's creator
36 "La Fille —
gardee ":
Ashton ballet
37 Long time
38 Very, in Vichy
40 Sky bear
42 Anagram of
COAGULATE
45 Anagram of
CREDENTIAL
49 Madame's
affirmative
50 Part of QED
51 Aquarium
fish
53 Clytemnestra's
mother
54 Like a fork
56 Clay, later
57 Architectural
borders
59 Composer
Rorem
60 Rajah's
wife
61 Border on
62 Changes a
dinner placing
64 Chicago -
Bangor
vector
66 Anagram of
GRANDEE
69 Adjective -
forming suffix
70 Belt or sash
73 Became still
74 Form of will
78 Cob's mate
79 Dry periods
81 Maestro De
Waart
82 Franklin's
wife
84 Former theater
org.
86 Containing
accessible ore
88 To —: precisely
89 Goddess, in
Roma
90 Anagram of
DECORATION
92 Anagram of
STATESIDE
94 Wheel shaft
95 Departed
97 " -- Pinafore"
98 Envelope abbr.
99 Greek order
102 "The Comedy
of Errors" twin
104 Amb.
106 Wine -bottle
word
108 Privy to
110 Stravinsky
111 Peninsular
Asians
113 Anagram of
MAINTAINED
116 Anagram of
SUPERSONIC
119 Soviet
peasant's
cooperative
120 Spirit
121 Love god
O E LAN 0 1 E N A C T
East of —"
A T T A N 0 0 0 A C N 0 0 C N 0 0
55 - -do -well
VANS N A N E N O
8 C
sphere lead -in
a M O M E N F A L S Epr
cV
E N A V E N 0 B A N A N A 8
92 Writer William
125 Brit. decoration
M 1 0 1 T S A E L P A 8 0
Harry'
I 0 8 1 N T N E M 0 0 N L I G N T
65 Varnish resin
T E F E T E S V I E a 1 0 T
IE S S T I R S A L S E N 0 0
JI
J J
U.S. CUSTOMS SEIZED 111A>iS
Handmade oriental rugs, acquired at U. S. Customs Service support division
auction in New Jersey seizure #88130300514, and multi -bale seizure # 91130300193 with rugs acquired
by liquidation auction of Newton Oriental Rug Fair, Inc. in Boston, MA plus others will be liquidated.
EACH RUG IS PROVIDED WITH ITS OWN CERTIFICATE.
Including certified hand made Oriental Rugs from China, India. Tran (Persia), Turkey, Egypt, Pakistan
more. Sizee',.- :. semi- antiques &Kilims
Situ : Suit. only, Oct. 3, at the
THE SOUTHAMPTON PRESS 1 SEPTEMBER 30, 1993
Weekly Crossword Puzzle
Edited by James C. Boldt and Joyce Nichols Lewis
GRANAMA ITEM"
By Nancy
Scandrett Ross
ACROSS
1 Nomadic
northlander
5 Obstruct
8 "La Dolce
1960 film
12 Excel
17 Vilification
19 Met show-
stopper
20 Take — leave it
21 Equipped like a
scull
22 Anagram of
INDICATORY
24 Anagram of
VICE CONSUL
26 Senorita's
chaperon
27 Missing
29 Hull stabilizer
30 Dapper fellow
31 Hon. degrees
32 Recovery
money
34 Friday's creator
36 "La Fille —
gardee ":
Ashton ballet
37 Long time
38 Very, in Vichy
40 Sky bear
42 Anagram of
COAGULATE
45 Anagram of
CREDENTIAL
49 Madame's
affirmative
50 Part of QED
51 Aquarium
fish
53 Clytemnestra's
mother
54 Like a fork
56 Clay, later
57 Architectural
borders
59 Composer
Rorem
60 Rajah's
wife
61 Border on
62 Changes a
dinner placing
64 Chicago -
Bangor
vector
66 Anagram of
GRANDEE
69 Adjective -
forming suffix
70 Belt or sash
73 Became still
74 Form of will
78 Cob's mate
79 Dry periods
81 Maestro De
Waart
82 Franklin's
wife
84 Former theater
org.
86 Containing
accessible ore
88 To —: precisely
89 Goddess, in
Roma
90 Anagram of
DECORATION
92 Anagram of
STATESIDE
94 Wheel shaft
95 Departed
97 " -- Pinafore"
98 Envelope abbr.
99 Greek order
102 "The Comedy
of Errors" twin
104 Amb.
106 Wine -bottle
word
108 Privy to
110 Stravinsky
111 Peninsular
Asians
113 Anagram of
MAINTAINED
116 Anagram of
SUPERSONIC
119 Soviet
peasant's
cooperative
120 Spirit
121 Love god 16 Stembeck's 52 Anagram of 87 Assist with
122 Liquid- heating East of —" DIALECT help
vessels 18 Cheese coat 55 - -do -well 88 Meter or
123 Wailing 19 Collection 56 Playwright sphere lead -in
laments 23 Off Burrows 91 Repudiations
124 Transmit counterparts 58 Marine plant 92 Writer William
125 Brit. decoration 25 "Light -Horse 61 Ductless gland L. and family
126 Monster, in Harry' 63 Dwarf buffalo 93 Thickly applied
Madrid 28 Int. jet 65 Varnish resin paint
32 Resounding 67 Brood of 96 Dress, with
DOWN defeat pheasants up"
1 Hallucinogenic 33 — Park: Edison 68 Grandfather of 100 Hostelry
monogram locale Brit. Chas. 101 Sheep
2 Surrounded by 35 Spoken 70 Columbus' sheds
3 Anagram of 36 Irish Mary birthplace 103 Engine -
UNPOETICAL 37 Wodehouse 71 Anagram of powered bike
4 Kneecap expletive EXCITATION 104 Fam. member
5 Bikini part 39 Marked with an 72 Name for a 105 Fraulein's name
6 Skyway asterisk colleen 106 Pierre's at.
7 Viscose fabric. 41 Yellow -fever 75 Anagram of 107 Emerald Isle
8 Albert's wife mosquito ENDURINGLY 109 Shade of
9 Skater Midori 42 Pub. footnote 76 Loamy deposit green
10 Honky — 43 Arthurian tales, 77 Mild oath 111 Roast hosts,
11 Curving e.g. 78 Lobbyists' org, for short
12 Expressive of 44 Bauxite or 80 Filled to excess 112 Fly high
deep feeling pitchblende 82 Hot times, 114 "The — ":
13 Owns 46 Perry's in Aix Brando movie
14 Anagram of creator 83 Salonga of 115 Indian bread
INDISCREET 47 Della of jazz Miss Saigon" 117 Kanga's
15 St. Petersburg's 48 Mom's partner 85 Woody's child
river 51 Aspersion son 118 Adm.'s aide
MEMO
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1993 Los Angeles Times Syndicate
Focus on Nature: Autumn Dawn
By Paul Stoutenburgh
The world has not awakened as yet.
Only a noisy cricket chirps in the kit-
chen as I fumble to dress. I walk with
bare feet out on the deck. To the east,
there's a soft, almost pinkish-orange tint
to the sky. Dew has painted all with tiny
droplets.
Not even a gull is stirring as yet. They
haven't risen from their night's rest out
on the sheltered bay. Now to the east it
is becoming brighter and brighter —
pink, low on the horizon. The sky above
is trying to turn to its blue of the day.
A light zephyr has started to move in.
A boat anchored off the beach acts as
a weather vane, pointing into the slight-
est breeze, always testing the line that
holds her firm at anchor.
Three gulls fly by. Two shore birds
swoop in from nowhere to light, their
breakfast lies hidden in the sand at the
moving water's edge. Barely visible,
they run along the beach, poking here
and there as their hunger drives them
on. Most likely, at this time of the year,
they've been flying all night migrating
from their northern nesting grounds in
the barren tundra. Their final destina-
tion is somewhere in the wet edges of the
Caribbean.
A song sparrow lets us know she is
still around with her ever - changing
pleasant song. She, too, is hungry and
works her way through the wet grasses,
seeking out the tiny seeds of the ripen-
ing plants that have already been scat-
tered by the wind. A little farther up the
beach, a hungry gull is wading along the
water's edge —food is the name of the
game of survival. Three mourning
doves fly by. They are off to an open
field up back where the rye has been
harvested. Some of the kernels will have
been missed and they'll be there to reap
the harvest.
Pinkish -white dominates the horizon.
A swallow with its swept -back wings
and forked tail starts the journey into its
all -day pursuit of flying insects. Its
quick change of direction tells me it has
picked up something. An insect that
thought it had just another summer's
day ahead is gone.
Two crows arrive at the beach, letting
everyone know they are in command.
Perhaps the sunbathers of yesterday
left a morsel or two for their early morn-
ing meal.
The clouds that were fluffs of gray
have now taken on a creamy white. The
sun now slides behind a low- hanging
cloud for a short period as it is ever
moving up, up, up. Its brilliance casts
a silver - yellow edge on the dark cloud.
Now it pokes its orange-domed head out
and its sparkling path leads from the
beach edge across the bay to its maker.
The sky turns blue above. The yellow -
orange of the sun starts to take its dom-
inant place in the sky where it will rule
all day.
From in back an osprey calls with its
harsh pitched "Chirp chirp chirp." An-
other hangs in midair over the bay,
pumping its wings as it focuses on a fish
below. Soon it will plummet to hit its
mark of menhaden.
The day has started for most wild
things. It has barely started for most
people. A few lights have come on in the
houses, showing some must be up to go
to work. They will see only the light of
another nice day, not knowing tha(
before "their beautiful day" there was'
an awakening that only few have seen.
By now an hour has passed. From the
cool of the beginning to the warming
rays of the rising sun, I have watched
one of our beautiful late summer days
unfold. I hear stirring inside the cabin
and dishes clattering in the kitchen —.
breakfast will soon be ready. Of course, .
we'll eat right here on the deck, where
the day has started with its golden path.
across the bay.
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