Woods, Lovely, Dark, and Deep

Woods, Lovely, Dark, and Deep

New York, NY USA Thursday, June 20, 2013Thursday, August 15, 2013
skowhegan firefly by eric aho

Eric Aho

Skowhegan Firefly, 2012

Price on Request

sebago firefly by eric aho

Eric Aho

Sebago Firefly, 2012

Price on Request

landscape by milton avery

Milton Avery

Landscape, ca. 1935

Price on Request

mecklenburg autumn: october - towards paw's creek by romare bearden

Romare Bearden

Mecklenburg Autumn: October - Towards Paw's Creek, 1983

Price on Request

pines, dusk by dozier bell

Dozier Bell

Pines, Dusk, 2011

Price on Request

ashton's oak by jake berthot

Jake Berthot

Ashton's Oak, 2010

Price on Request

apple tree with dandelions by katherine bowling

Katherine Bowling

Apple Tree with Dandelions, 2013

Price on Request

black tree (gloomy tree) by charles ephraim burchfield

Charles Ephraim Burchfield

Black Tree (Gloomy Tree), 1917

Price on Request

snowstorm by mary frank

Mary Frank

Snowstorm, 2013

Price on Request

echo park i by noriko furunishi

Noriko Furunishi

Echo Park I, 2007

Price on Request

lowering sky by april gornik

April Gornik

Lowering Sky, 2010

Price on Request

rocks and trees by marsden hartley

Marsden Hartley

Rocks and Trees, 1927

Price on Request

New York, NY USA
Thursday, June 20, 2013Thursday, August 15, 2013

Opens Thursday, June 20, 6 - 8 pm

DC Moore Gallery is pleased to announce its summer group exhibition, Woods, Lovely, Dark and Deep, curated by John Zinsser, on view from June 20 – August 15 with an opening reception on June 20 from 6 – 8 pm. This show juxtaposes historical and contemporary painters and photographers as a way of re-thinking “landscape” and its associated meanings. Zinsser began with an intuitive notion, looking at artists for whom this representational genre allows a revealing of hidden places or psychological foreboding. For many, illusion is played against literal reality, whether in terms of paint physicality or received photographic treatment of subject matter.

The tensions between nature as observed and its metaphorical role are heightened as we move forward in a modernist trajectory, starting with examples from Charles Burchfield, Romare Bearden and Fairfield Porter. Milton Avery, April Gornik and Jake Berthot all developed their work alongside the ascendency of formalist abstraction, and fully respond to the objectivity of that language. Photographers Duane Michals, David Hilliard and Noriko Furunishi take the historical tradition of plein air painting and invert its meanings, summoning fictive narrative fantasies through factual encounters. A younger crop of painters—including Max Jansons, Liz Markus, Daniel Heidkamp, Claire Sherman and Sissel Kardel—return landscape to the realm of the sublime and fantastic, with a range of inventive and unorthodox strategies.