May 21st, 2015

Hope Gangloff borrows liberally from her predecessors. Her large-scale portraits owe a huge debt to masters like Vincent van Gogh, Gustav Klimt and Egon Schiele, as well as Suzanne Valadon, Alice Neel and Sylvia Sleigh. Yet Ms. Gangloff is a shrewd assimilator, and her current show includes elements that make it one of the most topical in New York.

The broken brush strokes, bright colors and skewed perspectives in Ms. Gangloff’s paintings not only suggest van Gogh but also carry traces of Edgar Degas and Mary Cassatt, who were obsessed with photography and Japanese prints — which is to say, new ways (for them) of seeing and depicting the world. In contrast with van Gogh’s extreme impasto, however, Ms. Gangloff’s acrylic flat surfaces look as if they’ve been drawn with felt pens, and her electric colors have the backlit brightness of liquid crystal displays or white-cube galleries illuminated with fluorescent fixtures.

The topical part is in the details. Ms. Gangloff attended Cooper Union, which offered its students a free education until last year when, despite protests, occupations and allegations of financial mismanagement, the school started charging tuition. The imagery in her paintings includes a newspaper with a Cooper Union headline and the artist Yuri Masnyj, a former classmate, wearing a “Save Cooper Union” button on his shirt…


Link to the full article here / Link to NYT Art & Design here

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