|127 S Sixteenth Street|
|Philadelphia, PA 19102|
The Intimate Gaze
Featuring works by:
|Martha Armstrong||Jordan Graw||Michael Neff|
|Victoria Barnes||Yoni Hamburger||Scott Noel|
|Joan Becker||Ken Kewley||Katy Schneider|
|David Campbell||Brian Kreydatus||Sterling Shaw|
|Perky Edgerton||Aubrey Levinthal||Leslie Stahl|
|Philip Geiger||Susan Lichtman||Leigh Werrell|
Gross McCleaf Gallery is pleased to present The Intimate Gaze, a group exhibition featuring paintings by Martha Armstrong, Victoria Barnes, Joan Becker, David Campbell, Perky Edgerton, Philip Geiger, Jordan Graw, Yoni Hamburger, Ken Kewley, Brian Kreydatus, Aubrey Levinthal, Susan Lichtman, Michael Neff, Scott Noel, Katy Schneider, Sterling Shaw, Leslie Stahl, and Leigh Werrell. The exhibition runs from July 8 - 31, 2014. There will be an opening reception for the artists on Friday, July 11, 5 - 7 pm.
The paintings in this exhibition have one thing in common, and that is the familiarity that artists share with their observed subjects. The intimate gaze sidesteps the clinical and impersonal relationship between the artist and the hired model in favor of the more familiar spouse, family member, or close friend. Additionally, many of these encounters are constructed in shallow space (figure/ground), bringing the spectator closer to the observed object and into an intimate world occupied by the artist and his/her subject.
The interior figure painting is a tradition that goes back to the groundbreaking works of the Dutch Masters, best exemplified by Jan Vermeer. This new genre emphasized scenes from everyday life and was part of a cultural shift in Western Europe directed towards a new and secularized modern way of life. The possibilities of this new subject matter were embraced by subsequent generations of painters who addressed the figure with a variety of approaches: the classical, the natural, the romantic, and the real. In time, especially in the late 19th and early 20th centuries with the advent of Impressionism, Post-Impressionism, Fauvism and other movements, the style or "way of painting" became the dominant factor - the figure and the interior being of secondary concern. Not until the Postwar years does the emphasis shift away from the concern of medium back towards the subject matter as seen in the works of such diverse artists as Lucian Freud, Andrew Wyeth, Sidney Goodman, and Balthus.
Drawing on subject matter from their most personal surroundings, the artists featured in The Intimate Gazeinvite the observer into their world. The approach is varied but the results are universally compelling.