1 15 1 https://omeka.wilkes.edu/omeka/files/original/3eb7e7a3606db0201bbc2e33a3e83aa7.pdf 7ee05bc079731354e9343e523bf30e4f PDF Text Text ��������� https://omeka.wilkes.edu/omeka/files/original/a189e09b55243de2e78f1c470f869540.pdf 78c38ca908ab0fb92c54cf29a7fbcd49 PDF Text Text <1 I i- ; ; 5, ■the City Observed SORD GA ND1159 C6 �The City Observed Barry Roal Carlsen Douglas Safranek Stuart Shils October 2-November 6,1994 E.S. ^.RLEY LiBRAR? WILKES UNIVERSITY WILKES-BARRE, PA Sordoni Art Gallery Wilkes University Wilkes-Barre, Pennsylvania © 1994 Sordoni Art Gallery �ARCHIVE at n A( Lenders to the Exhibition Barry Roal Carlsen, Madison, WI Gregory and Dorothy Conniff, Madison, WI David Grossfeld, Chicago R. Hiteshew and D. Panzer Collection, Philadelphia Diana Kingman, Berwyn, PA Julilly Kohler, Milwaukee WI Ben Mangel, Philadelphia Mangel Gallery, Philadelphia Lorrie Moore, Madison, WI Thomas and Janet Paul, Loudonville, NY Diana Sargent, Fishers Island, NY Schmidt-Bingham Gallery, New York Stuart Shils, Philadelphia Kenneth Waliszewski, Brookfield, WI Judith Woodburn, Milwaukee, WI Three Anonymous Private Collections n behalf of the Sordoni Ar I to loan works to this exh Julilly Kohler and Jordar Mangel Gallery, Philadelphia; and been especially helpful in arrangir ■ Dale Mainer supervised the packi west. Nancy Krueger of the Sordo ing the exhibition. Earl Lehman i Dr. William Sterling read drafts o Barry Roal Carlsen designed the ( As a the Fin us. Sta Dir ays I am grateful for the su * doni Art Gallery. I thank Barry Roal Carlst r I Grand >?r �1 I Acknowledgments 5 Exhibition on.WI ti, Philadelphia to loan works to this exhibiit"7Chris „eJsXnl'T"0-'-’ag'“in« LJ Julilly Kohler and Jordana Joseph of InternoXiLy Xaufee TO R M 3°*’ Mangel Gallery Philadelphia; and Diana Sargent of The Pandi’on Gallery, Fishe'rs been especially helpful m arranging loans. ’N *’ nave Dale Mainer supervised the packing and crating of the Carlsen paintings that came from the Mid­ west. Nancy Krueger of the Sordoni Art Gallery co-ordinated the many details involved with mount­ ing the exhibition. Earl Lehman installed the exhibition. My colleagues Dr. J. Michael Lennon and Dr. William Sterling read drafts of the essay; I appreciate their editorial comments. j, NY Barry Roal Carlsen designed the cover and provided the catalogue layout. As always I am grateful for the support provided the Gallery by Wilkes University and the Friends of the Sordoni Art Gallery. Finally, I thank Barry Roal Carlsen, Douglas Safranek and Stuart Shils for sharing their visions with 5 us. Stanley I Grand Director 3H" ■ ;8t �The City Observed A Ithough Barry Roal Carlsen Douglas A Safranek and Stuart Shils each creates XX small-format paintings depicting contem­ porary urban landscapes, their sensibilities, for mal concerns and content differ considerably. Carlsen’s pictures of a mid-sized, midwestem city express a poetic, oneiric sensibility. Safranek s punctiliously delineated meditations order the discordance and cacophony of New York City. Shils responds spontaneously to the stimuli of a city undergoing constant cycles of decay and re­ birth. With dramatic contrasts of light and dark, glowing enameled colors, and a multiplicity of detail, Barry Carlsen creates an enigmatic, per­ sonal and marginal world bathed in crepuscular light. Suspended between night and day, twilight marks the transition from work to home, public to private lives, waking to sleep. It is a bridge and, not surprisingly, the bridge recurs frequently as a motif in Carlsen’s paintings. Carlsen depicts a poetic borderland where dif­ ferent worlds intersect and loyalties diverge. Stations suggests the conflict that the artist feels between his studio and his family. In this pic­ ture the artist is a night-shift worker for whom the comforting presence of family, suggested by the light emanating from an upstairs bedroom window, is denied. The child’s sled, abandoned by the side of the house, underscores the mood of isolation. The tension between home and work is expressed differently in Night Shift where lower-middle class backyards butt up against industrial sites. People become marginal in Carlsen’s world. The brave-new-world skyscrapers of the modern service industries march proudly past the ver­ nacular structures of the old rustbelt distribu­ tion centers, which seem strangely quiet eerie and preternatural. The individuals, like those in Not Forgotten, who hang around these by­ passed enterprises engage in mysterious, and often ominous, encounters with each other. Me­ mentoes of projects begun, but left unfinished abound. The mood is haunting, melancholic and elegiac. Even the world of The Dreamer is troubled by disturbing outside forces—symbol­ ized by a strong wind that depresses and flat­ tens the ascending smoke. The painting’s highly finished, glossy surface becomes a mirror of dreams. Despite their small scale, Carlsen’s paintings share some of the grandeur of classic nineteenth­ century American landscapes. The dramatic, ex­ pansive skies recall those of Frederic Edwin Church, but the mood is closer to that of Thomas Cole’s allegorical Course of Empire, updated to show the waning of the American empire. Other influences include the Immaculate painters: Re­ union II in particular shows a knowledge of Charles Sheeler’s photographs of the Ford Mo­ tor Company plant at River Rouge, Michigan. The tension in Douglas Safranek’s paintings derives, in part, from the paradox of imposing a rigid sense of order on what has become, increas­ ingly, a subject synonymous with disorder. Un­ like, Stuart Shils, Safranek paints the city from an intellectual point of view: he brings to his paintings a Cartesian sense of order, reinforced, no doubt, by his undergraduate training as a French major. Typically, as in Still Open, Safranek employs a high, god-like perspective. He looks down on the city from the safety of a window in a tall building. He is a distanced viewer, a flaneur, who orders what he sees, care­ fully removing all chaotic and accidental elements from the composition. His choice of medium expresses well his re­ lationship to his subject. Working in egg tem­ pera, a difficult medium that involves mixing dry pigments in egg yolk, he applies his colors to a carefully prepared surface with small, deliberate brushstrokes. Since egg tempera colors—unlike oils do not blend easily, the artist must lay down many, semi-transparent layers of paint. The medium requires the artist to work slowly, to eliminate chance effects, and encoi most meditative attitude, as that of ing and illustrating manuscripts wl outside spins out of control. Egg t quality, in contrast to the juiciness forces this perception. Egg tempera is ideally suite whose work has a strong linear qual also draws in silverpoint, one exar is included in this exhibition, a virtu that is unexcelled for precise drau His linear sensibility aligns him wi cal, rational tradition that gives the intellectualism of line over the color. Safranek’s clear, deliberate f tours look back to the Classicism of than the Romanticism of Delacroi: A Classical air of quietude anc permeates Still Open. The glowi Mini Market draws residents of ai borhood together on a desultory s Two women lean against the side ( watching four men and a boy, care to form a flattened circle. The sin ing passerby is balanced by anothe Graffiti tags, a frequently cited sj decay, become mere visual inch lights, like jewels, draw the eye a: position, in which a solitary offic nates the horizon. To the left ma ers suggest the presence of Manh lighted catenaries of the suspensio planar recession of the buildi unanimated by glimpses of huma: through open night windows. He Edward Hopper or a John Sloan, drawn. Stuart Shils, on the other hai din, the noise and the dirt of the quickly with oils on paper in a pai style, his plein air cityscapes cap tory and impermanent nature of t Shils has said that his paini �mentoes of projects begun, but left unfinished abound. The mood is haunting, melancholic and elegiac. Even the world of The Dreamer is troubled by disturbing outside forces—symbol­ ized by a strong wind that depresses and flat­ tens the ascending smoke. The painting’s highlyfinished, glossy surface becomes a mirror of dreams. Despite their small scale, Carlsen’s paintings share some of the grandeur of classic nineteenth­ century American landscapes. The dramatic, ex­ pansive skies recall those of Frederic Edwin Church, but the mood is closer to that of Thomas Cole’s allegorical Course of Empire, updated to show the waning of the American empire. Other influences include the Immaculate painters: Re­ union II in particular shows a knowledge of Charles Sheeler’s photographs of the Ford Mo­ tor Company plant at River Rouge, Michigan. The tension in Douglas Safranek’s paintings derives, in part, from the paradox of imposing a rigid sense of order on what has become, increas­ ingly, a subject synonymous with disorder. Un­ like, Stuart Shils, Safranek paints the city from an intellectual point of view: he brings to his paintings a Cartesian sense of order, reinforced, no doubt, by his undergraduate training as a French major. Typically, as in Still Open, Safranek employs a high, god-like perspective. He looks down on the city from the safety of a window in a tall building. He is a distanced viewer, a flaneur, who orders what he sees, care­ fully removing all chaotic and accidental elements from the composition. His choice of medium expresses well his re­ lationship to his subject. Working in egg tem­ pera, a difficult medium that involves mixing dry pigments in egg yolk, he applies his colors to a carefully prepared surface with small, deliberate brushstrokes. Since egg tempera colors—unlike ails do not blend easily, the artist must lay down many, semi-transparent layers of paint. The medium requires the artist to work slowly, to eliminate chance effects, and encourages an al­ most meditative attitude, as that of a monk copy­ ing and illustrating manuscripts while the world outside spins out of control. Egg tempera’s dry quality, in contrast to the juiciness of oil, rein­ forces this perception. Egg tempera is ideally suited for artists whose work has a strong linear quality. (Safranek also draws in silverpoint, one example of which is included in this exhibition, a virtuoso technique that is unexcelled for precise draughtmanship.) His linear sensibility aligns him with the Classi­ cal, rational tradition that gives precedence to the intellectualism of line over the sensuality of color. Safranek’s clear, deliberate forms and con­ tours look back to the Classicism of Ingres rather than the Romanticism of Delacroix. A Classical air of quietude and timelessness permeates Still Open. The glowing facade of a Mini Market draws residents of an urban neigh­ borhood together on a desultory summer night. Two women lean against the side of a parked car watching four men and a boy, carefully arranged to form a flattened circle. The single, approach­ ing passerby is balanced by another who departs. Graffiti tags, a frequently cited symbol of urban decay, become mere visual incident. Yellow lights, like jewels, draw the eye around the com­ position, in which a solitary office tower domi­ nates the horizon. To the left massed skyscrap­ ers suggest the presence of Manhattan as do the lighted catenaries of the suspension bridges. The planar recession of the buildings is static, unanimated by glimpses of human activity spied through open night windows. Here, unlike in an Edward Hopper or a John Sloan, the shades are drawn. Stuart Shils, on the other hand, relishes the din, the noise and the dirt of the city. Working quickly with oils on paper in a painterly, gestural style, his plein air cityscapes capture the transitorY and impermanent nature of the urban scene. Shils has said that his paintings are about thetic 1 Place- His is an aes’ cewed n • a s?1cl01°Slcal> P°int of view. Con­ cerned primarily with visual phenomena he records what he sees but refrains from making overt programmatic or political statements. He invites the viewer to contemplate the scene but, by means of an empty, foreground intermediary zone, keeps the viewer at an aesthetic distance. Although his palette, which consists prima­ rily of earth colors, recalls that of the Ash Can Painters, he does not share their picturesque view of poverty. Shils lacks the optimism of a Robert Henri or George Luks who viewed pov­ erty as a transitory state populated by individu­ als whose lives were more raw, more full, more gutsy. Nor does he explore the themes of alien­ ation, loneliness and estrangement, like Edward Hopper, or those of human suffering and pathos, as did Ben Shahn. In Alley Near Schmidt’s Brewery Shils finds a certain tattered beauty, like that of an old face, reflecting experience and, perhaps, wisdom. De­ spite having fallen on hard times, his buildings maintain their dignity. Abstract pictorial con­ siderations, however, predominate: the architec­ tonic structure begins to dissolve, forms open up, edges become brushy and indistinct, broad flat areas of paint are rendered expressionistically. As in most of his paintings, the alley is deserted, but no sense of melancholy intrudes. Throughout the twentieth century, artists have found inspiration in the American city. De­ spite a wide variety of styles, from the naturalis­ tic interpretations of the Ash Can Painters or the American Scene Painters to the increasingly abstract paintings of the Immaculates, Stuart Davis or Piet Mondrian, the city has fascinated artists. The City Observed demonstrates the continuing vitality of this tradition. Stanley I Grand Director �I Barry Roal Carlsen he places I visit in my paintings are reconstructions of another time. They are amalgamations, the kind of blending or restructurM ing of place that our memories recall for us. While they are spawned from memories of my past and the people that were and are dear to me, I want very much not to make the narratives just a visual diary of personal F■ I events. I see the paintings as vehicles to convey emotions, rather than just formal landscapes. They may represent a reconciliation with the past, an homage to a certain person, the completion of an unfinished conversation, or just a wellspring of nostalgia bubbling up. Whatever the content of the given piece, I am cautious to avoid cementing the objects and setting completely in the realm of the personal. I want the viewer to bring his or her own experience to bear in viewing the work. One of the things I enjoy most is hearing others comment on my work. I have heard a single painting interpreted as expressing bright hope and optimism as well as the darkest sense of loss and depression. Either is equally valid to me, both may even exist in the work. I leave it in the viewer’s hands. When I hear interpretations of my paintings, it is like discovering a part of myself. I want to stand quietly in that place between events, spanning both sides of the question. It is important that the narrative is not altogether complete. There must be room for the viewer to complete the picture. The time and place are not meant to be too specific. I am most interested in the human scale in the environment and the relationships between given objects. I like to watch and record the transitional: the implied event, the light from an unseen source, the time just before nightfall or those first moments of the day. These are the things that intrigue me. Barry Roal Carlsen, Not Forgotten, �jSEN are reconstructions of another > kind of blending or restructur­ in’ us. While they are spawned hat were and are dear to me, I : just a visual diary of personal lotions, rather than just formal ation with the past, an homage finished conversation, or just a er the content of the given piece, s and setting completely in the bring his or her own experience rs comment on my work. I have ssing bright hope and optimism ssion. Either is equally valid to it in the viewer’s hands. When ke discovering a part of myself. i events, spanning both sides of tive is not altogether complete, lete the picture. The time and most interested in the human ps between given objects. I like iplied event, the light from an 1 or those first moments of the Barry Roal Carlsen, Not Forgotten., 1991, 9 x 18 inches, oil on masonite. �Douglas Safranek Tk Tew York City’s density was quite overwhelming when I first I arrived from the vast and tranquil West. Upon months of 1 observation, however, intimidation subsided to fascination. I began to appreciate the clashing contrasts of the big city, and the di­ versity of the people and structures within. The buildings are piled high and crammed together, and millions of people share this small space. Life is never on hold—the city is perpetually moving. Run­ down tenements share the streets with cold, steel giants. In my Brook­ lyn neighborhood, artists walk along-side Polish immigrants, Italians, Puerto Ricans, and Hasidic Jews from Hungary. I was inspired to por­ tray unparalleled diversity in my paintings. i I found that through the slow, meditative process of egg tempera, I was able to maintain a sense of intimate stillness in even the most active compositions. I wanted to note not only the clutter and eccentricities of daily life, but also to bring out that which seemed timeless and uni­ versal in a fast-paced environment. My present work continues to de­ velop these New York images. Being a delicate, precise medium, egg tempera encourages working on a smaller scale than I had been used to. I found, however, that I could achieve the same visual impact in miniature with tempera that I could only achieve on a grander scale in other media. The fragility yet ultimate permanency of tempera seems appropriate for what I hope will be timeless, meditative paintings of a dynamically changing world. i Douglas SafrarJ �1 I I I uite overwhelming when I first ■anquil West. Upon months of ation subsided to fascination. I rasts of the big city, and the di* vithin. The buildings are piled ions of people share this small y is perpetually moving. Run­ cold. steel giants. In my Brookide Polish immigrants. Italians. Hungary. I was inspired to por­ tings. s- I ex § £>X 3 ve process of egg tempera. I was tillness in even the most active ly the clutter and eccentricities which seemed timeless and uniy present work continues to dea delicate, precise medium, egg dler scale than I had been used ieve the same visual impact in ily achieve on a grander scale in ? permanency of tempera seems leless, meditative paintings of a Safranek, Still Open, 1994, 4 5/8 x 4 inches, egg tempera on �Stuart Shils 1 ’ T have an appetite for the material of the city; it’s a sensual re­ sponse really. I try to paint in the same way that you eat grapeI fruits in the morning, where you stop thinking about what you’re doing and just enter into the doing of it. It’s like a physical attraction to another person, very animal like. I don’t mean that I paint like an ani­ mal, but I try to connect on a purely visual level. —I don’t think there’s any story in my paintings: if there is, I don’t know about it. The paintings don’t have a psychological or sociological orien­ tation; I’m interested in visual meanings: how one wall relates to an­ other, what that relationship means abstractly, or in the tonal quality of light. —I’m painting the city as it exists today. My colors might seem “old fashioned,” but that’s the city. I don’t see bright reds and oranges. I paint my emotional response to the city, but I’m not transforming my colors in a fauvist way. I’m trying to understand the color that I’m seeing. —I’m not engaged in the whole life-on-the-street issue or involved in what’s going on there. I’m just watching the world go by in a very de­ tached, even voyeuristic, way. That feeling of separation and distance may come through in my work although I’m not thinking about it. Rather, I’m trying to remake what I’m looking at, to put it together in a sensual and tactile way. —The city in its decrepitude is magnificent. I’m not trying to glorify these horrible places, I don’t think there’s any virtue to living there, although I am trying to glorify their visual magnificence. Of course I’m interested in the life of the city and this interest pro­ vides me with a certain momentum, but not in formal terms. When I go out to paint its really more like eating an ice cream cone. Stuart Shils, Alley excerpts from a conversation �------------- ? F I g- terial of the city; it’s a sensual re­ in the same way that you eat grapeyou stop thinking about what you’re of it. It’s like a physical attraction to I don’t mean that I paint like an aniy visual level. gtn O B. Q ny paintings: if there is, I don’t know a psychological or sociological orienanings: how one wall relates to ans abstractly, or in the tonal quality7 of today My colors might seem “old ion’t see bright reds and oranges. I e city, but I’m not transforming my ig to understand the color that I’m e-on-the-street issue or involved in tching the world go by in a very7 det feeling of separation and distance igh I’m not thinking about it. Rather, ng at, to put it together in a sensual ignificent. I’m not trying to glorify t there’s any virtue to living there, r visual magnificence. life of the city and this interest prol but not in formal terms. When I go ling an ice cream cone. Stuart Shils, Alley Near Schmidt’s Brewery, 1994, 10 5/8 x 11 inches, oil on paper. t" I �OF THE EXHIBniON Barry Roal Carlsen Bachelor Party, 1990 0 x 6, oil on panel Courtesy of Gregory and Dorothy Connitt Barn Roal Carlsen C.;s.'-n.c Off II, 1989 0 x 12, oil on copper Courtesy of Dav id Grossfeld Barry Roal Carlsen 1992 5 I 2 x " 1 2. oil on masonite Courtesy of Barry Roal Carlsen Barry Roal Carlsen Factory, 1989 6 x 9. oil on panel Courtesy of Gregory and Dorothy Conniff Barry Roal Carlsen The Meeting Place, 1989 9x 12, oil on copper Courtesy of Lorrie Moore Douglas Safranek Before Dark, 1994 5 3/8 x 6, egg tempera on panel Courtesy of Schmidt-Bingham Gallery Douglas Safranek Common Ground, 1994 32 x 22, egg tempera on panel Courtesy of Schmidt-Bingham Gallery Douglas Safranek Domino Sugar, 1994 5 3/8 x 7, egg tempera on panel Courtesy of Schmidt-Bingham Gallery Barry Roal Carlsen Midnight Wind II, 1994 12 x 28. oil on masonite Courtesy of Barry Roal Carlsen Douglas Safranek Ordinary Life, 1993 16 1/2 x 12, egg tempera on panel Courtesy of Schmidt-Bingham Gallery Barry Roal Carlsen Night Shift, 1989 9x12, oil on copper Courtesy of Barry Roa! Carlsen Douglas Safranek Snow/Steam, 1992 8x7 1/2, silverpoint, gouache on toned board Courtesy of Schmidt-Bingham Gallery Barry Roal Carlsen No! Forgotten, 1991 9x18, oil on masonite Courtesy of Lome Moore Barry Roal Carlsen Reunion 11. 1992 5x9, oil on masonite Ct urtesy of Thomas and Janet Paul Barry Roal Carlsen Shared Gift, 1989 6 x 9, oil on panel Giurtevy of Gregory and Dorothy Conniff Barry Roal Carlsen Slant,ns, I'M 9*6 oil on masonite C ‘run.esy of Kenneth Waliszewski Barry RoaJ (arisen 1he Dreamer, 1992 6 x 9. otl on masonite Courtesy ofJulilly Kohler Barry Roal Carlsen lheIs iton, 198990 12 * 16, oil <m masonite Cosmevy of Judith Woodhum Douglas Safranek Still Open, 1994 4 5/8 x 4, egg tempera on panel Courtesy of Schmidt-Bingham Gallery Douglas Safranek Walking the Dog, 1993 28 1/4 x 17, egg tempera on panel Courtesy of Schmidt-Bingham Gallery Stuart Shils 33rd and Diamond Streets, 1994 7 3/8 x 12, oil on paper Courtesy of Diana Sargent Stuart Shils A Corner of East Fishtown, 1993 9 5/8 x 11 13/16, oil on paper Courtesy of Private Collection Stuart Shils A Dark Side Street, 1992 7 3/8 x 11 1/2, oil on paper Courtesy of Private Collection Stuart Shils >/K x 11, oil on Counesy of Stuart Shils Stuart Shils Construction Near Delaware Avi'enue, 1993 11 1/8 x 11, oil on paper Courtesy of Ben Mangel Stuart Shils Delaware Avenue with a Red Truck, 1992 8 7/8 x 11 3/8, oil on paper Courtesy of Stuart Shils Stuart Shils Demolition on Norih American Street, 1993 117/16 x 9 7/8, oil on paper Courtesy of Diana Kingman Stuart Shils Grey's Ferry and Federal Streets, 1991 7 1/4x10 5/8, oil on paper Courtesy of Private Collection Stuart Shils Mellon Bank Tower, 1992 9 1/4x8 3/4, oil on paper Courtesy of Stuart Shils Stuart Shils Nocturne, 1992 8 1/8x10 1/2, oil on paper Courtesy of Stuart Shils Stuart Shils Nocturne Over Manayunk, 1985 7 1/2x14, oil on paper Courtesy of R. Hiteshew and D. Panzer Collection Stuart Shils Old Warehouses with Stack, 1993 10 3/4x11 1/8, oil on paper Courtesy of Stuart Shils Stuart Shils The Relic Still Afloat, 1993 8 1/2 x 12 1/2, oil on paper Courtesy of Mangel Gallery Stuart Shils Urban Ruins, 1994 10 5/8 x 10 5/8, oil on paper Courtesy of Stuart Shils Height precedes width, all dimensions in inches �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1994 October 2 The City Observed Creator An entity primarily responsible for making the resource Barry Roal Carlson Douglas Safranek Stuart Shils StanleyI.Grand Date A point or period of time associated with an event in the lifecycle of the resource 1994 October 2 - November 6 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Although Barry Roal Carlsen, Douglas Safranek, and Stuart Shils each creates small-format paintings depicting contemporary urban landscapes, their sensibilities, formal concerns, and content differ considerably. In this exhibition, exploration into these different aspects is explored. Type The nature or genre of the resource N/A Subject The topic of the resource N/A Rights Information about rights held in and over the resource SAG