|Installation view of MHR-80|
all photos provided by The Hyde Collection
|Part of MHR-80's Salon section|
|Jean Egger Quash, 2016|
electric object, earplugs, and video
The show is installed according to a set of six organizing categories drawn by Oatman from "the history of display": site, vault, salon, cube, mirror/grid, and landview. I have to admit, I'm a little baffled by the concept, and not convinced that it succeeds here, but I give Oatman credit for trying the experiment in front of so many interested audience members. However, they (like me) probably just want to see who got in and what their latest work is like - rather than to receive an academic history lesson in the form of a contemporary art exhibition.
|Brian Cirmo, Cat’s
in the Well,
oil on canvas
|Elizabeth Panzer Nasturcium Op. 3, 2015|
A few years ago, Oatman co-curated (with Ken Ragsdale, who is conspicuously absent here) the wonderfully stuffed An Armory Show at Sage College of Albany's Opalka Gallery, using a similar approach to this installation. There, however, each artist had a lot more examples of their work included so, despite the chaos, one could delve in. This show feels much cleaner, but is also a tease, especially if you are seeing an artist here for the first time.
|Danny Goodwin 3-D
Cardboard Box Prototype,
archival pigment print
If you go, be sure not to miss the "interventions" by artists in the Hyde House - there, two historic bathrooms have been cleverly altered, and a bedroom has been lovingly updated. There are also three large-scale outdoor pieces, one of which drew me to the back garden area of the house, where my companion and I enjoyed a stunning view of the paper mill that endowed the Hyde, and its vast supply of stacked logs. If it had been entered, we would have given it first prize.
|Kathy Greenwood, Paper Dolls, 2016|
digital prints, colored pencil, acrylic on paper, cotton cloth