Wednesday, October 13, 2010

Norman Sunshine opens at the Morris Gallery in Kent, Connecticut

Two weeks ago (we’re a little late on this) artist, Norman Sunshine launched an exhibition his most recent landscape paintings and his highly expressive horse pastels at the Morrison Gallery in Kent, Connecticut. In addition to the current work, gallerist Bill Morrison selected a number of earlier pieces from Sunshine’s years in Los Angeles where he was born and grew up.

The range of work and exploration of media add up to a mini-retrospective. The show takes the viewer on a surprising journey reflecting emotional experiences and surroundings that affected the artist’s outlook on life as well as his art – and transformed them into the realm of color, form and space. From hard-edge, cool, realistic figurative paintings of alienation of the 70s, to the emotionally charged and more abstract paintings, sculpture and steel wall reliefs of the 80s, and finally, when Sunshine decided to move to the east and settle permanently in Washington, Connecticut, how the sights, colors and impressions, affected and radically changed his work.
Alan Shayne and Norman Sunshine.
Entering the Morrison Gallery in Kent, Connecticut.
Art dealer Vivian Horan in front of L.A. Dream, 1980.
Shirley Lord Rosenthal, Nancy Novogrod, choreographer Martha Clarke, and John Novogrod.
Ambassador Bill Vanden Heuvel.
Martha Clarke with her son, composer and band leader David Grausman.
Kate Medina and Wendy Luers.
Joan and Paul Marks with Nancy Novogrod.
Zee Weiner with horse drawing she purchased.
Rex Reed and Susan Kinsolving.
Martha Clarke and gallery owner Billy Morrison.
Wendy Luers, Anne Sutherland Fuchs, Shirley Lord Rosenthal, and Ene Riisna Greenfield.
Norman Sunshine and Polly Bergen.
Kate Medina and Leo Guthart.
Sculptor Peter Woytuk, soon to be gracing New York's streets.
Sunshine’s critically acclaimed, “postmodern” still-life apple paintings and sculptures of the 90s, were shown frequently in New York and in his last exhibit at the Morrison Gallery. As with his still-lifes, the newer landscape paintings also toss convention on its ear, lifting the wall between abstraction and representation.

The exhibition takes the viewer on a surprising journey, of place, inspiration, daring and transformation. Norman’s work is in national museums and in some of the most important private and corporate collections in the country. His paintings and sculpture may be viewed at or Mr. Morrison said, “This will be an exciting and revelatory show of one our most talented New England artists.”
Journey, 1980. Acrylic on canvas, 96 x 84 inches.
Malibu Series #10, 1988. Painted steel relief, 30 x 22 inches. Passing Time, 1980. Acrylic on canvas, 84 x 60 inches.
Daydream, 1980. Acrylic on canvas, 72 x 108 inches.
Pond IV, 2009. Oil on canvas, 48 x 72 inches.
Farm with Red Barnboards, 2010. Oil on canvas, 48 x 72 inches.
Tulips Against the Barn, 1992. Oil on canvas, 48 x 48 inches.
Steeprock, Near the Clamshell, 1995. Oil on canvas, 48 x 60 inches.
The artist and his partner Alan Shayne have been Litchfield County residents for quite some time, as well as residents of Manhattan. The opening night exhibition brought out many of their New York/Litchfield County friends.
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