Exhibition at Grenning Gallery - 27 East

Arts & Living

Arts & Living / 1372541

Exhibition at Grenning Gallery

icon 3 Photos

author on Mar 30, 2010

Even as the Grenning Gallery in Sag Harbor continues to serve as an East End bastion of the primacy of painterly realism and representational art over more abstract approaches, it has nevertheless recently stretched its curatorial boundaries well past its previous dedication to exhibiting solely contemporary classical drawing and painting.

As a result, while still highlighting artists such as Jimmy Darrell Sanders, whose works reverberate with echoes of Flemish Renaissance painters in his use of paint and light, the gallery has expanded its artistic vision to include painters such as James Daga Albinson, whose more gesturally spontaneous and impressionistic figurative work actually derives from his own earlier dedication to academic techniques.

Showing mostly recent landscapes of predominantly East End scenes, Mr. Albinson begins the paintings on site but then reworks them afterward, thereby creating equilibrium between the spontaneity of plein air technique and the more thoughtful opportunities that retrospection can yield in the studio later on. Within the works, this allows for the reflection of the immediacy of the moment, with its constantly shifting moods and changing balances between light and shade, while still leaving space for artistic intent and the ability to alter reality to illustrate as much what is perceived later as what was actually seen at the time.

This process also allows for the artist’s earlier academic tendencies to find their way into the work, by facilitating the pictorial emphasis on various classical sensibilities, such as true perspective and dramatic foreshortening. This is particularly apparent in works like “Georgica Pond, View to the East” and “Sky Over Sag Harbor Bay” in which the majestic sweep of the clouds toward the horizon almost mathematically defines space and depth, both of which are further emphasized by the subtle transition of color and light far into the distance.

Interestingly, the work that superficially seems best to exemplify Mr. Albinson’s more classical tendencies is actually the most immediate and spontaneously painted piece in the exhibition. Titled “Portrait of David” (2008) and featuring a significantly larger than life-size image of Sag Harbor artist David Slater, the work was done in one session, yet there is, within the subject’s face, a measure of directness and emotional connection that seems more a product of thoughtful reworking than the more impulsive process from which it emerged.

For Jimmy Darrell Sanders, by contrast, impulse would seem to be a rather foreign component in the process of creation. Instead, working from a series of finely tuned preparatory drawings, Mr. Sanders is able to re-create an image that goes much deeper than the merely superficial representation of a standard still-life. Rather, combining masterful draughtsmanship skills that highlight a remarkable comprehension of figure, line and color married to an accomplished approach to light and compositional structure, the works are memorable for the way that they transcend two dimensions and seem to become real, rather than simply idealized pictures of reality.

In “Three,” for example, the structural simplicity of the still-life arrangement at first completely dominates the compositional framework, until one becomes aware of a slight imperfection in the wall behind the central images. Along with subtle shadowing, this flaw further underscores a sense of depth while altering the balance within the work, in that one is offered a visual counterpoint to the gentle circular structure of the form, line and light that comprise the central objects within the picture itself.

This effect is also apparent in “Carpenter’s Tool Belt,” in which the circular arrangement of forms in the center of the canvas is powerfully juxtaposed by the pictorial verticality of the wood grain board on which the tools hang. Matched with the artist’s enviable attention to detail and nuance, the work is powerful for both its rhythmic composition and its remarkable use of painterly perspective.

The impact and import of classical perspective in Mr. Sanders’s work is most apparent, though, in a construction titled “Jimmy Sanders’s Studio, Florence, 2007” and which re-creates the little known 17th century Dutch Renaissance object known as a “Perspective Box” or “Peepshow.”

Consisting of an open rectangular box painted on the inside, the peepshow allowed for the creation of an anamorphic image in which the picture, painted on the inside of the box with one side open, is stretched beyond recognition and only appears completely normal when viewed through peepholes on either side of the box.

The exhibition at the Grenning Gallery in Sag Harbor featuring works by James Daga Albinson and Jimmy Darrell Sanders continues through April 18.

You May Also Like:

Sag Harbor Cinema Drive-In Continues

Sag Harbor Cinema’s Drive-in series continues at Havens Beach with films every Sunday night that ... 3 Aug 2020 by Staff Writer

Pollock, Motherwell And Friends: Hamptons Curiosity Room

From Friday, August 7, to Sunday, August 9, New York City-based Shin Gallery in collaboration ... by Staff Writer

The Parrish Art Museum’s New Shows

The Parrish Art Museum reopens its galleries on August 7 for the first time since ... by Staff Writer

Musical Theater Audition Workshop At Bay

Bay Street Theater’s artistic director Scott Schwartz will lead a one-on-one “Musical Theater Audition Workshop” ... by Staff Writer

Hamptons Doc Fest Adds ‘The Fight’ to its Online Line Up

For the week of August 5 and continuing, Hamptons Doc Fest founder/executive director Jacqui Lofaro has added a new documentary “The Fight,” to the hamptonsdocfest website. The film had its world premiere at the Sundance Film Festival in January, where it won the U.S. Documentary Special Jury Award for Social Impact Filmmaking, and was just released on July 31 by Magnolia Pictures. Directed by Elyse Steinberg, Josh Kriegman and Eli Despres, “The Fight” (96 min., 2020) provides an inspiring, inside look at the important legal battles that lawyers for the American Civil Liberties Union (ACLU) are facing during the Trump ... by Staff Writer

The Work Of Pittsburgh Artist Bill Miller On View On Shelter Island

The New York City-based exhibition and programming space dieFirma is bringing the art to Shelter ... by Staff Writer

The Sound Of Invention

Music is back at Guild Hall this weekend in a socially distanced outdoor collaborative performance ... by Staff Writer

A Game Of Musical Chairs

Keyes Gallery in Sag Harbor will open “Musical Chairs,” a new exhibition on Wednesday, August 12, from 6 to 9 p.m. Though it’s a children’s game, musical chairs is also defined as “any activities which result in repeated, pointless shuffling of people or objects.” To that end, this show mirrors the format of the game whilst highlighting the uncertainty and of our new reality. The exhibition pulls from the multi-generational family collection of Penny McCall and her daughter Jennifer McSweeney. McCall collected art from the early 1980s until her untimely death in 1999 while McSweeney continues to collect to this ... by Staff Writer

The Church Welcomes Dini von Mueffling And Thomas Brokish

The mission of the Sag Harbor Church (The Church) is to foster creativity on the ... by Staff Writer

Save The Plate

In lieu of celebrating at its beloved traditional Midsummer Party, the Parrish Art Museum has ... by Staff Writer

Welcome to our new website!

To see what’s new, click “Start the Tour” to take a tour.

We welcome your feedback. Please click the
“contact/advertise” link in the menu bar to email us.

Start the Tour
Landscape view not supported