Dan's Papers -January 8, 2010 -Art Commentary

This critic has always been especially fascinated by conceptual art, although to this day a precise definition is still evasive. It's like trying to define "pornography." We can't always describe what it is; we just know it when we see it.

One thing is sure, however: conceptual art is scarce in the Hamptons. While there are a handful of exhibiting artists who could be typed as conceptual (including Steve Soreff, Christa Maiwald, and Darlene Charneco), there are also only a few galleries that consistently show conceptual art. Ask anyone to name them, and they probably can't.

Of these three art venues, all are relatively new: Solar Gallery (the oldest), Art Sites (Riverhead) and Sara Nightingale Gallery (Shelter Island). It's curious to note that such places enjoy off-the-beaten-track locations as well. Solar Gallery is in the owner's East Hampton home. Which makes sense, since conceptual art is a movement that's off-the-beaten-track, too.

Esperanza Leon, Solar's director, has positioned her gallery on a charming street near Guild Hall, the backyard and downstairs gallery having equal charm. Oddly enough, the exhibits can also be perceived as "charming," primarily because they avoid overt and often graphic, distasteful themes that conceptual art is known for. Solar's art is not about "pretty pictures," however.

Leon agrees, saying that she's not known for beautiful images, per se, but for the grittiness that lies beneath the surface. "The work I show is subtle. It won't hit you in the face; it deals with human experience."

Most of the shows, therefore, can be characterized as using arresting materials, color and compositions created frequently by artists from other countries, especially Latin America. A recent show during December was by German Tagle whose abstracted pieces reflect his life and identity in Chile. Leon notes that this aspect marks his art as conceptual, his ideas deriving from himself yet appealing to everyone.

This is not to suggest that Solar keeps away from art with political/social themes.

We can remember one, particularly, where photographs featured superheroes like Spiderman saving the day for minorities.

While Leon feels that conceptual art needs more substance and "teeth," we expect she will be showing more in the future. (We hope that includes more performance pieces such as a recent installation by Lucia Pizzani.)

Christa Maiwald often does conceptual embroidery pieces and videos, showing them at the Solar Gallery (among other venues). She is one of the few local artists who is familiar with performance art, media, and dance, having studied at the Chicago Institute of Art for her graduate degree and then moving to New York.

During the subsequent years, Maiwald continued to pursue her passion, having a one-person video show at the Whitney Museum and receiving a fellowship from Syracuse University where she worked on video projects using special effects.

Maiwald has kept busy ever since with social/political works, even after moving to the East End. A show at New York's Museum of Arts and Design used embroidered aprons attached to lampshades, signifying the idea of servitude. Her most recent embroidery project is a take-off on Musical Chairs, conveying the economic crisis.

At the recent Basil Art Fair, Maiwald's videos were also represented. We can't help but wonder if they were at all influenced by her earlier political works made in the 1970s, a satire on the Ku Klux Klan being a particular standout.

Artists like Maiwald will, we hope, continue their association with local galleries and keep them committed to conceptual art.