A lobby symposium: Federico, Haske, Loft, Osman, Porcaro & Saltz

Mark Haske
Joseph Haske looks at his paintings in the lobby gallery at The Standard Motors Building in Long Island City. On right, Asterion 3, 2016, acrylic on canvas. On left, Asterion 2, 2016, acrylic on canvas.

The Standard Motors Building in Long Island City is home to a spacious lobby gallery, organized and maintained by Deborah Freedman and Marjorie VanDyke. Freedman and VanDyke, printmakers who operate VanDeb Editions in the same building as the gallery, invited Joe Haske to curate a show, and he assembled “A Symposium,” a congenial exhibition featuring some of his colleagues at Parsons, on view through October 28.

Mark Saltz
Mark Saltz, Untitled, 2014, oil on linen.

A painter himself, Haske’s interest lies not in image, but surface, which he believes is a complex phenomenon akin to memory. “The transparent skein of paint offers passage from this to that other world, where we give ourselves over to the symbol and illusion made with marks and colors.”

Salvatore Federico
Salvatore Federico with (on left) Poemen, 2013, acrylic on canvas, and (on right) Valery, 2001-07, acrylic on canvas.
Roger Loft
Roger Loft, Bar Cabinet Sarnath I, 2013, epoxy, dynel, wood.
Don Porcaro
Don Porcaro, A Short Story 10, 2004, oil on paper. One of Porcaro’s recent sculptures is on view in “Confluence/Influence: Mingei in Contemporary Abstraction” at the Dorsky Gallery through December 11.
Jim Osman
Jim Osman talking with a few artists about a pair of his 2003 paintings, made with pigmented plaster on board.

The show offers a convivial dialogue between the diverse approaches of these seasoned artists, all of whom know how to tease a tantalizing surface out of a gritty pigment and a bit of binder. One of the remarkable things about NYC is that even exhibitions mounted in lobby spaces are outstanding.

A Symposium: Salvatore Federico, Joseph Haske, Roger Loft, Jim Osman, Don Porcaro, and Mark Saltz,” curated by Joseph Haske. The Standard Motors Building, Long Island City, Queens, NY. Through October 28, 2016.

Related posts:
Rejecting the New: Abstract painting in the 1980s
In the attic: Abstract easel paintings from 1920-50

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