Brian Sharp at Acme closes Dec 18
One of the experiences with art that has become indelibly impressed on my brain and the inside of my eyes was when David and I were visiting an exhibition at Daniel Weinberg Gallery and went into his art-filled living room shaped office to see treasures from his vaults. (Honestly it did feel as though we were in the rooms of some wise and magnificent wizard who had the singular power to bring magic to life.)
There was a Ralph Humphrey painting over here, five or so Alexander Ross drawings over there, a John Chamberlain sculpture holding down books on a table – we were pretty stunned as relative newbies to the art world. Over the mantle was hanging a small, old looking painting of a white oval on a black ground. (I swear even though I don’t think Dan has a fireplace, I swear I saw this painting over a mantle.) Amongst all the other museumey things around the space this painting stood out and quietly dominated the room. “Oh, that painting?” Dan responded to our question, “That’s by Myron Stout.”
The next year D and I spent time in Cape Cod – my first time on that coast – and we visited the Hans Hofmann school and museum, we saw more work by Stout and I got my first taste for that east coast atmosphere: tenacious, weathered, severe and demanding but good-natured. Every work by Myron Stout that I saw hummed with energy.
This is a long way around to recommend that you go to Acme to see Brian Sharp’s paintings before the show closes on the 18th.
Brian Sharp’s paintings look as though he’s engaged in a practice similar to Stout and also California’s John McLaughlin – of course the physical and aesthetic resemblance is there, but also implied is an artist spending long hours in the studio practicing and working, quietly and seriously pursuing his odd geometrys and curious colors. Both of the precedents I mention were each known for a slow, steady, philosophy-informed, meditative practice. Brian Sharp may be young but his work gives me this feel of assurance.