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Ariella Budick, “A Whiter Shade of Pale Suggesting Angels, DNA,” Newsday, July 20, 2007 Review A Whiter Shade of Pale Suggesting Angels, DNA When Kasimir Malevich created his suprematist composition “White on White” in 1918, he thought he had brought painting as far as it could go, eliminating all superfluous elements. It was pure art, stripped of all accumulation of “things.” In retrospect, it’s hard to imagine the shock-value of these paintings when they were first shown. A century’s worth of abstraction has succeeded Malevich’s first experiments, and radical reduction has become just one more stylistic option. Many artists have discarded color, choosing white – or black – for its blankness and its multiplicity of associations. In the West, white evokes brides, angels and dentists. In the east, it is the color of mourning. If evil generally cloaks itself in black, unblemished innocence proudly sallies forth in the color of snow. “White as Color,” a new exhibit at the Art League of Long Island, gathers together artists who take an ascetic approach to hue, allowing texture and form to take center stage. Maureen Palmieri pares down her palette, but not her flair. Her installation consists of a swarm of pale babies floating gently in mid-air. Some rest of milky pillows, while others freeze mid-fall, caught between the mezzanine level and the gallery floor. Even without gluing wings on her infants, Palmieri invokes the figure of the cherub, in all his benign guile. On the other hand, she may be hinting at the secret but probably universal parental urge to chuck a screaming baby out the window – thereby creating one more innocent angel in the firmament. Drew Shiflett’s sculptures are less literary and more tactile. Using handmade paper, cheesecloth, polyester stuffing and Styrofoam, she creates pseudo-textiles that look like iced tapestries. Each horizontal band has a distinctive pattern and texture, like the layered strata of geological time or the recordings of an ancient chronology. Michelle Stuart’s gorgeous “Seed Drawings,” are all elegance in shades of beige. Rows of concentric circles, like minimalist targets, mark a broad rectangle. At the heart of each lies a cantaloupe seed, whose juice has been allowed to seep into the paper. Each circle and organic streak is different, much as any two apparently identical seeds have different DNA. Stuart obliquely implies that the uniqueness of each seed stands for human individuality, stamped on the micro level upon our genes, on the macro upon our character. But there is nothing didactic about the message – couched in scientific syntax, it plays out in the graceful simplicity of her design.Ariella Budick |
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Constructed Drawings, essay by Nancy Princenthal, 2011, Guild Hall Museum, East Hampton, New York "Beautiful Dreamer", essay by David Gibson, 2005, SPACES, Cleveland, Ohio “Collection Insights: Drew Shiflett On Linear Thinking,” essay by Janet Goleas, 2004, Islip Art Museum, East Islip, New York “Work in Process,” essay by Kristen Frederickson PhD, 2003 "Making It Up," essay by curators David Finn and Victor Faccinto, 1999 "Correct Me If I'm Wrong," essay by Barry Schwabsky, 1997 In Three Dimensions: Women Sculptors of the '90s, essay by Charlotte Streifer Rubinstein (catalog), '96 Margaret McInroe, “Survival,” Hunter College (catalog), '95 Charles Long, "Critical Mass",Dallas Artists Research (catalog), '94 Kathleen Cullen, "Drew Shiflett", The Interart Center (catalog), '93 Nancy Princenthal, "Idio Cognito" (catalog), '93
Janet Goleas, "An Identity With the Process," The East Hampton Star, November 10, 2011 Jennifer Landes, “Artists Do Still Live Here,” The East Hampton Star, May 14, 2009 Elise D’Haene, “The Art Scene – Top Honors For Drew Shiflett,” The East Hampton Star, May 7, 2009 Pat Rogers, “A Show That’s Fun and Exciting,” The Southampton Press, April 30, 2009 Pat Rogers, “350 Artist Members All Under One Roof,” The Easthampton Press, April 29, 2009 Ariella Budick, “A Whiter Shade of Pale Suggesting Angels, DNA,” Newsday, July 20, 2007 Karen Searle, "Plane & Form at Minnesota Center for Book Arts," Hand Papermaking, June Issue 2006 Jill Conner, “CustomFit,” Contemporary, Issue no. 52, 2003 Phoebe Mitchell, "Hampden Gallery Abstracts Invite Viewers Within," Hampshire Gazette, May 1, 2003 Rachel Youens, "In Review - Sculpture at Flipside," Arts, Vol. 1, Number 4, wburg.com, 2001 Holland Cotter, "Sculpture," The New York Times, May 11&18, 2001 Ken Johnson, "Invented Spaces" The New York Times, Jan. 19&26, 2001 Tom Patterson, "New York Explorers" Winston-Salem Journal, Mar. 21, '99 Tom Patterson, "All That Jazz," Winston-Salem Journal, Mar. 7, '99 Annie Herron, "Fresh Perspectives," Review, March 15, '97 Helen A. Harrison, "Artists Who Make Work Out of Play," The New York Times, January 7, '96 Tom Moody, "Critical Mass," Art Papers, July/Aug., '95 Shawn Hill, "Nature's Ordeal," Bay Windows, Nov. 17, '94 Grace Glueck, "Update 1984-85," The New York Times, June 21, '85 Marilu Knode, “22 Wooster ‘Rhythm and Form’,” Manhattan Arts, Vol 11, No. 2, Feb. 1, '84
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