Welcome Back Galley Response

The two pieces that worked well together were Chris Camperchishi’s “The third is still the first and always the only one” and Michael Shoudt’s “Untilled”.  Both these pieces were abstract expressionism, and both of them had structural elements: thought, Chris Camperchishi’s  piece has gestural markings as well. Bothe pieces were also about the same size and did not interfere with each other’s color pallet. The major different between the two was the shape and frame. Camperchishi’s painting was a standard rectangle in shape while Shoudt’s work was shaped like a triangle with a fauls shadow on the floor. These pieces complemented each other because they look as if they were made with the other in mind. Whether intentional or not, their similarities alow the two paintings to coexist and not compete with each other.

The two piece that did not work together were Ardele Lister’s “Flower/Power”, and one of the work’s from the set titled, “Five Famous Fat Men” which was created by several artists including: Jason Carey, Maxwell Cernell, and several others. These two works were so close together, they appeared to be part of the same piece. There needed to be more distance between these to works. “Flower/Power” was about gardening, and the one excerpt from “Five Famous Fat Men” included a cement mixer. Because a both gardens and cement mixer has an outdoor connotation, people could be lead to believe that an outdoors theme connected the two works.

The piece I enjoyed was Raphael Ortiz’s “Let Them Drink Tea.” This piece appeared to be a commentary on the Tea Party and the possibility of their political agenda resulting in a new great depression. The piece consisted of two elements, a video below and poster above. These two parts could probably been incorporated more intimately. In their stacked composition, they look as if they could have been two different pieces that addressed the same themes.

The piece I disliked was Julie Langsam’s “Collages” These were a collection of structural abstract expressionism that seemed to exist simply to exist. Each frame contained a set of brightly colored squares that were all centered in their frames. The squares did not appear to reference an object, but neither did they seem to address a concept or visual issue.