Posts Tagged ‘Anton van Dalen’

Urban Renewal

Saturday, June 11th, 2016

Anton van Dalen is back with simultaneous solo shows at downtown galleries. Roughly one year after “New Works and the Avenue A Cut-Out Theatre” at PPOW Gallery, van Dalen presents work in a range of media at Romeo and Sargent’s Daughters. His vision encompasses drawing, painting, sculpture, animation, and environments, recapitulating 50 years of exhibition history for today’s emerging galleries and their audiences.

Anton van Dalen: The Devil’s Veil at Romeo

Both shows are exquisite, but most impressive are van Dalen’s graphite drawings in The Devil’s Veil at Romeo. Created in 2005-6 and uniform in scale, they reveal a collage sensibility organized by crisp Euclidean geometry. Into schematic plans that read like maps or flow charts, he plugs logos, facial features, and the human figure. In one thread of the series, a circular head seems to ride atop carriage wheels. Like Pac-Man, it gobbles everything in its path, which mostly includes token brand identities. These logos track along assembly-line paths as they cycle into and out from the rolling head’s sensory nodes. Van Dalen’s behaviorist man-machine is ensnared in a cycle of consumption and perception, perception and consumption: “I chomp, therefore I am.” Powered by Pop and enviable draftsmanship, van Dalen summons up Francis Picabia, Max Ernst, J.G. Ballard, James Rosenquist, and De Stijl design.

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At Sargent’s Daughters, van Dalen presents Inside Out, Home and Place, an eclectic and colorful counterpart to the Romeo show that renews some of the artist’s vintage work. Bird Car (1987) is the centerpiece, a faux-mobile pigeon coop repopulated with live birds. It’s no match for his vigorous drawings, but pigeons are inseparable from the artist’s repertoire and biography. The real gem of the show is Flowers in My Eye (1965), a surreal animated video combing humanity and nature. Given the serial production of van Dalen’s drawings at Romeo, one can only wonder when animation might call him back.

Anton van Dalen, “Flowers in My Eye” at Sargent’s Daughters

 

Faculty Updates

Thursday, May 19th, 2016

What have SVACE faculty members been up to? We have exciting updates from Anton van Dalen and Valerie Smaldone.

Anton van Dalen simultaneously has two solo shows at separate galleries in New York City. Romeo will “focus on my street inspired drawings, raw works, mostly on paper,” according to Anton. And Sargent’s Daughters will “show more intimate poetic representations, with a mix of mediums,” he tells us.

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Artwork by Anton van Dalen

Anton’s shows are featured on ARTnews, TimeOut, and Artnet.

We reviewed Anton van Dalen’s 2015 solo show at PPOW Gallery, New Works and the Avenue A Cut-Out Theatre.

Valerie Smaldone, “one of radio’s most recognized female voices,” launched Hit Makers: Music Icons in Performance and Conversation,” a new conversation and music series. Read about Valerie’s “Music Makers” at Radio Ink and the Sheen Center.

Valerie Smaldone

Valerie Smaldone

See more updates on our FacebookTwitter, and Instagram pages!

 

Fight or Flight

Sunday, February 22nd, 2015

New Works and the Avenue A Cut-Out Theatre is Anton van Dalen’s first show with P.P.O.W and his first solo exhibition in eight years.

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Anton van Dalen at PPOW Gallery

A forty-year resident of the East Village, Anton van Dalen is a neighborhood icon. For decades, his work has documented and depicted the problems of his dynamic neighborhood and its looming surroundings, from junkie dystopia to bank-branch mall. Along with making art, he breeds white pigeons from his Avenue A rooftop and reportedly kept roosters in his home.  And he assisted Saul Steinberg, secretly, for thirty years.  His paintings commingle these influences: several of these East Village views are from up high and employ the “graphic clarity” that van Dalen has described of Steinberg: “the idea of drawing with a single line, no shading, etc.”

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Sunrise in the East Village: “Self-Portrait with Pigeon Coop Looking South,” 2014

 

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Sunset in the East Village: “Self-Portrait with Pigeon Coop Looking North,” 2014

New Works is a series of paintings that feature the new East Village, fully “cleaned up” and luxury-class.  Van Dalen selects the polarized colors of sunrise and sunset, perhaps to coordinate with his diurnal pigeon schedule.  Van Dalen’s street scenes look flattened and blocky, like colorful dioramas or stage sets, offering a noncommittal interpretation that might be an adaptation to a changing neighborhood.  Instead of realism, Van Dalen expresses his vision of the East Village in a naive, though skillful, painting style based in drawing and rich in geometries, figuration, and perspective: just short of cartoonish Canaletto.

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“Avenue A, Day/Night,” 2008-2011

 

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The burdens we carry: details of Anton van Dalen paintings

 

The colorful naïvete relents in Avenue A Cut-Out Theatre, the set for his one-man puppet show, which he has previously performed at MoMA and the New York Historical Society.  Here, Van Dalen stages violent clashes with police in riot gear.  Could this be his telling of the brutal repression, usually invisible, that paves the way for a more user-friendly East Village?  Driving out the undesirables?

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Anton van Dalen in “East Village U.S.A.”

 

If so, then we can look for skepticism in Van Dalen’s vision of Alphabet City coexistence.  Answers might await when he performs at PPOW next weekend. For now, check out this great interview at Interview with Martha Wilson.

SVACE Faculty Shows

Monday, February 9th, 2015

Several SVACE faculty members are in new exhibitions!  First, Anton van Dalen opens New Works and The Avenue A Cut-Out Theatre at PPOW Gallery.

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Anton van Dalen, “Avenue A, Day/Night” 2008-2011

Barbara Segal exhibits several fetishistic marble sculptures in Radical Intent at Gallery 151.

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Barbara Segal, “Flight of The Fancy”

And finally, Barbara Nitke is featured in Irreverent: A Celebration of Censorship at the Leslie-Lohman Museum of Gay and Lesbian Art!

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Barbara Nitke in “Irreverent”