“The annual “Talent” group shows at Allan Stone Gallery, 223 East 90th Street, are invariably interesting. Talent 2000, however, is more than a group show; it is a thoroughly enjoyable collection of eclectic obsessions.
Every artist in this exhibition is gifted, yet it is doubtful that many of them would find a hospitable reception in many other major galleries, since none of them adheres to current art world fashions. Fortunately, neither Allan Stone nor his daughter Claudia, who now oversees the daily operation of the gallery, has ever cared a whit for following fashions or trends. Rather, they are both more concerned with what Jack Kerouac once referred to as ” the unspeakable visions of the individual.
Also quite eccentric in its own way is “Reserved Seat,” an actual easy chair constructed by Carolyn Applegate out of many kandy-kolored stuffed nylon stocking-balls. So inviting that the gallery had to post a sign warning visitors not to sit in it.
Indeed the great strength of this show is that none of these artists is likely to start a new trend because each is, in his or her own way, quite inimitable.”
“Each year Long Beach Arts hosts 12 diverse exhibits that run the gamut from figuration and abstraction to photography, sculpture and (in October) a show of grotesque art. None of them is more popular than “The Found Object Exhibit.” It’s easy to understand why.
Because “assemblage” is the art of collecting castoffs, throwaways, discards refuse and junk, then using this wild assortment of “found Objects” as material to created new images. You never know what to expect. Depending on the artist, the results can be comical, lyrical, quirky, satirical, beautiful, irreverent, of just plain in your face defiant. Whatever the end product – whether whimsical or philosophical – this year’s show deserves extra high marks thanks to juror George Herms. With his eye on quality, Herms whittled 254 submissions down to 47 select pieces…
…And then there’s “Cupcake.” What can we possibly say about Carolyn Applegate’s soft sculpture of little round pink balls piled high on their lace-trimmed tray. She calls them confections, but you might get some other idea at the sight of these cute little things poking out from a layer of gauze.”
“Hands-on; interactive; viewer participation – these are some of terms used in recent decades to describe certain unconventional methods of presenting artwork to the public which overturn the traditional proscriptions against physical contact between artwork and spectator. The title of an energetic new show at Angels Gate Cultural Center leaves little doubt as to it orientation; it is a no-holds-barred compilation of wallworks, sculptures and installations which not only ignore the traditional touch-me-not barriers, but invites, encourages, insists on physical interaction
A virtual playground of manipulable objects and sensory stimuli, OK to Touch appeals to the child in everyone. Not unlike exhibits in science museums which impart lofty scientific and mathematical principles by way of didactic devices resembling apparatus normally found only in pinball parlors, the contraptions and conceits of OK to Touch draws everyone into a party mood, dragging all beholders onto the dance floor, willing or not…
…then there are Carolyn Applegate’s Cupcakes, soft constructions of polyfil stuffed nylon stockings resembling clusters of ripe, pink breast, fringed by frilly, Victorian lace borders, and her Reserved Seat, a parti-colored overstuffed armchair as yielding as a cow’s udder and as enticing as a trampoline.”
“Dominating the room is a chair designed for its durability by Carolyn Applegate who wanted a comfortable chair for her studio that could withstand oil paint stains. She covered a lawn chair with multi-colored pantyhose, stuffing them with balls of polyfil and bright patches of cloth, some with sequins. The small hose balloons cover the chair, making it a bubbly creation that practically calls out to be set in. When there’s a stain Applegate says she snips off the affected “poof” and replaces them.”