The Parrish Celebrates Its Show 'Every Picture Tells a Story'
Although the gift of a cycle of David Salle paintings will certainly be a scene-stealer(see related story), the Parrish Art Museum’s additional permanent collection galleries that fulfill its “Every Picture Tells a Story” theme will be installed with other inspired selections, sometimes enhanced by loans.
Look for artwork in a variety of mediums that demonstrate some kind of narrative theme. There are galleries devoted to Fred W. McDarrah, an indefatigable Village Voice photographer who died in 2007, Louisa Chase, Fairfield Porter, William Merritt Chase, Photorealism, and works in black and white.
McDarrah, whose recent monograph and exhibition in New York City were reviewed in September in The Star, worked at the Voice for more than five decades. The photographs in his gallery, recent gifts, will be focused on the years from 1959 to 1979. They depict many of the artists active on the East End over the years, captured in New York and here, where McDarrah had a house as well. The Parrish has paired the depicted artists with works they created, also from its collection.
Ms. Chase, who died in 2011, is celebrated in a gallery that displays work that ranges from 1972 to the last year of her life in a mini-survey of her practice. The Parrish’s paintings “Yellow Spooks” from 1986 and “Untitled” from 1988 have been augmented with paintings, drawings, and prints from her estate and the Syracuse University art collection. They illustrate an inventive and unique perspective on both realism and abstraction.
The museum continues to showcase Photorealism after a recent exhibition devoted to its history and contemporary practice. In the large open gallery opposite the installation of the Salle series “After Michelangelo” (see related art review on C1), new acquisitions by Tom Blackwell and Bertrand Meneil along with paintings by Ron Kleemann, Yigal Ozeri, Charles Bell, and Audrey Flack are featured.
The founder of the Shinnecock Hills Summer School of Art in the 19th century, Chase left a trove of paintings behind that are now in the Parrish’s collection. This year, the museum looks at the relationship of the master and his students to the Shinnecock Indian Nation and their reliance on its male members as hunting and fishing guides and its female members who provided produce and services to them. A series of archival photos from David Bunn Martine, a Shinnecock historian, help bring these relationships to life.
Perhaps borrowing from the inaugural exhibition at the Met Breuer museum, the Parrish pulls out the unfinished works by Fairfield Porter in its collection. “Fairfield Porter Raw: The Creative Process of an American Master” includes finished work as well to help understand his working method.
The opening of the exhibition will be celebrated with “Fresh Look,” a benefit cocktail party celebrating the art and artists on Saturday from 6 to 8 p.m. with tickets starting at $200 and $150 for members. A free community day will be held on Sunday from noon to 3 p.m. Details can be found in the front section of The Star.