the possibility of a painting | The Chelsea Hotel

The possibility of a painting is an impressive group show at The Chelsea Hotel's Gallery Suite featuring the works of 13 New York City artists.  The show examines the potentials of painting and exhibits the works salon-style, with pieces dramatically scaling up one wall and swooping up and across the ceiling!  The arrangement of the paintings show the transition from representational works to abstract to minimalist, ending with one dark, elegant, large-scale minimalist painting on the opposite wall.  The display also creates an immersive experience - visitors are invited  to sit or lounge on specially designed cushions while viewing the show, to fully experience the works and the atmosphere.

Starting at the lower portion of the right wall are the representational works including:
Tara de la Garza's layered, moody, gritty subway pieces; Marisa DeMarco's black-and-white retro ladies superimposed with brightly colored modern gadgets; Ayca Koseogullari's shadowy, devilish figures; Winston Chmielinski's lush and mysterious portraits; Kate Shaw's dreamy, sherbet-colored landscape; and Sirikul Pattachote's colorful nature scenes.  Scanning your gaze upwards you find the abstract works gradually lead into the minimalists — Kenneth Park's raw, energetic canvases; Meghan Keane's vibrant swirls;  Chelsea Hotel summer resident, Susan Olmetti's vigorous, lively, large-scale oil painting; Darren Wardle's richly saturated small-scale canvases; Koji Shimizu's sweet and whimsical ode to his cat; and Felicity Faulkner's stunning, fluid shapes and forms.

The iconic Chelsea Hotel refurbished a guestroom, The Gallery Suite, with a small, separate room serving as a unique exhibition space.  Lucky guests who reserve The Gallery Suite get to "live" with the paintings during their stay!  Much like the hotel, The Gallery Suite, situated on the 10th floor in Room 1019, possesses a rich, artistic history of its own.  Artist Alfred Russell lived in Room 1019 with his wife Joan for thirty years.  Alfred was an accomplished abstract painter whose work was featured in seven Whitney Annuals (from 1949-1955), in MoMA's major abstract show in 1951, and alongside Pollock's and de Kooning's at the Vehemences Confrontees exhibition in Paris in 1951.  Russell renounced avant-garde abstraction as "The Bourgeoisation of Modern Art" in 1953, and painted mainly in unfashionable figurative styles, rarely exhibiting his work, until his death in 2007.  Fittingly, Russell's studio was located in the room currently exhibiting the possibility of a painting.  Starting off his career in abstract painting, moving on to figurative, and ultimately combining the styles, Russell truly explored the possibilities of painting. 

A black-and-white photo book, hotel chelsea — room 1019, is available during the exhibition. It documents The Gallery Suite's former incarnation as Alfred and Joan Russell's home. Photographed by Gillian Bostock two weeks after Joan's death in 2008, with text written by the Russells' nephew Peter Feld, hotel chelsea — room 1019 reveals an intimate peek into the couple's home and lives.

Learn more at 2onetwo.com/blog.  Open Thursday evenings from 6:00-8:00 on the following dates: March 11, 25; April 1, 15, 29; May 13, 27; or by appointment.

Installation view

~Clockwise from top left: Kate Shaw (landscape); Winston Chmielinski (2 small portraits and large portrait in center w/ white background); Marisa DeMarco (3 black-and-white faces); and Tara de la Garza (large-scale piece on bottom right and center left)

View of some paintings on ceiling ~Clockwise from top left: Meghan Keane (colorful circles on beige background); Felicity Faulkner (multi-colored straight lines and wavy lines); Kenneth Park (blue, pink and grey abstracts); and Meghan Keane (orange abstract, lower right)

Another view of some paintings on ceiling ~Clockwise from top left: Felicity Faulkner (multi-colored circles and lines); a bit of Meghan Keane's abstract (circles on beige background); Sirikul Pattachote (small, green piece); Darren Wardle (2 small multi-colored pieces); a bit of Susan Olmetti's canvas (bottom left); and Koji Shimizu (4-part cat piece)

 

Clockwise from top left: Susan Olmetti; 2 of Kenneth Park's abstracts; 2 nature/flower paintings by Sirikul Pattachote; and a portrait by Winston Chmielinksi

Felicity Faulkner

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One of the oldest continuous artistic traditions in the world. The earliest paintings were not representational but ornamental; they consisted of patterns or designs rather than pictures.
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The Hotel Chelsea, also known as the Chelsea Hotel, or simply the Chelsea, is a historic New York City hotel and landmark, known primarily for its history of notable residents. Located at 222 West 23rd Street, between Seventh and Eighth Avenues, in the Manhattan neighborhood of Chelsea, the 250-unit hotel has been the home of numerous writers, musicians, artists, and actors, including Bob Dylan, Virgil Thomson, Charles Bukowski, Janis Joplin, Patti Smith, Leonard Cohen, Iggy Pop, Jobriath, Robert Mapplethorpe and Larry Rivers.

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At the time of its construction, the building was the tallest in New York, and its surrounding neighborhood constituted the center of New York's theater district. However, within a few years the combination of economic stresses and the relocation of the theaters bankrupted the Chelsea cooperative. In 1905, the building reopened as a hotel, which was later managed by Knott Hotels and resident manager A. R. Walty. After the hotel went bankrupt, it was purchased in 1939 by Joseph Gross, Julius Krauss, and David Bard, and these partners managed the hotel together until the early 1970s. With the passing of Joseph Gross and Julius Krauss, the management fell to Stanley Bard, David Bard's son.

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What enables painting is the perception and representation of intensity. Every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity; by using just color (of the same intensity) one can only represent symbolic shapes.

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