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At the Katzen A.U. Museum:                SUSAN YANERO:  PAINTINGS                                                    by Carolyn Reece -Tomlin

2/22/2013

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SUSAN YANERO
at the Katzen Arts Center Museum, 4400 Massachusetts Avenue, NW, Washington DC
January 26 – March 17, 2013   
Gallery Talk:  March 2 at 4 p.m.


Susan Yanero paints a multi-layered world caught in a moment – stopped in time.  Her characters take one deep breath and wait.  As described in the quote by Nabakov hanging on the gallery wall, Yanero is “taming time.”  In the painting Helicopter the children are frozen in their happy play.  Perhaps the hovering red helicopter may foretell disaster but a fence blocks our view of anything beyond.

In Mafia with Innocents (above) a trapeze artist with corkscrew curls hangs above three doll-children solidified to the bottom of the canvas with an intense red.  One has a halo, the other has no arms, a third falls off the bottom edge of the canvas.  On each side is a legless man on a spinning wheeled platform.  Each man has a tornado above his head and is pointing a gun while arrows threaten the children.  This painting is eerie and foreboding but at the same time satirical in its craziness.

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Love and redemption is implied in the title, Baptism (left).  An undertone of blue pervades the whole painting as seen in the starkness of the blue-violet woman overhanging the tub, water from a bent pipe pouring over her cold body.  

Yanero’s use of color gives power and force to this painting and she builds the paint surface until it is solid.  The woman’s body is weighty, but limp, falling over the edge of the tub.  A cat drops a red mouse on the woman’s back – as if trying to bring back life.

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Yanero’s largest painting in this show (above) is dark in color and expression.  With Love, Danny depicts fragments of her parents’ faces – eyes and nose on a piece of hanging drapery, red lips floating in a rectangle.  A child or doll sits on the extreme end of a wagon, perhaps a circus wagon covered in drapery, the palm of a hand projects out and a solitary figure looms in the far left background.  The general mood is dark but Yanero provides us with an escape from the stillness.  Light from an opening on the left and coming through the cross-shaped muntins of a window offers redemption and release.

Many layers of pigment and meaning are in these paintings. It is impossible not to be taken in by the mysterious, complex world of Susan Yanero.  Movement and energy are here although a haunting stillness pervades each painting.


Also of interest:  SUSAN YANERO at the  Washington Studio School Gallery.

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Featuring several  1980's large paintings and drawings/studies 
at the Washington Studio School through March 27,  2129 S Street NW         202-234-3030
11 a.m. – 4 p.m. Monday through Friday, weekends by appointment.



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CITYSCAPES BY CLAIRE MONDERER reviewed by LJ Blankstein.

2/17/2013

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February 10- April 10, 2013
MAPLEWOOD PARK PLACE, 5707 Old Georgetown Rd., Bethesda, MD.
information:  301 530 0500

The visitor is blown away when coming upon Monderer’s “East River” paintings in the small area that serves as a gallery at Maplewood Park Place.  Monderer's panoramic view of the southern end of Manhattan consists of five canvases. In them one not only sees the sweep of the river, but is drawn in by the vibrancy of the scene.  The artist uses color in a bold, forthright manner as seen in "East River" pictured above. 

Monderer’s choice of architectural scenes as subjects range from large, over-views to up-close frontal views of building facades with street-level  shops and apartrments above.  Above the colorful shop fronts, we delight in the all-over patterns created by open and closed windows.  “Under the Westside Highway” captures a dramatic scene.  The stark contrast between the shadowy blacks under the highway, and the sun-blanched buildings on the other side of the street demonstrate the artist’s grasp of composition.

Monderer has an MFA from The American University and has worked at the Hirshhorn as a docent for many years, paints from photographs, using them as sketches, reinterpreting the information from her experience as both a pedestrian and architecture afficianado.  When comparing a photo source to a painting, we see how the artist pulls experiential aspects into the scene before us.  Stressing some areas and omitting others, she injects the human experience of how we live and work in constructed environments to make a coherent arrangement.

 Monderer’s cityscapes are alive with an appreciation for the sculptural elements, the open boulevards and spaces for strolling and air, and the colors that make up a metropolis.

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