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Frank Lind: At Sea

September 22 – October 20, 2005
Curated by: Thalia Vrachopoulos

Camp Hero, 2005, 84" x 144" (diptych)

Lind who completed his BFA at Georgetown University in 1970, and did his MFA at Pratt Institute in 1974 has shown widely across the United States in exhibitions at such prestigious institutions as Tacoma College, Georgetown, Wisconsin and Brown University Galleries. He has also shown at the Allentown Museum, and Muhlberg College in Allentown, Pennsylvania as well as at the Hofstra Museum, in Long Island. From his accomplishments we can ascertain that Lind is an artist’s artist who is not only a painter of consequence but who is also critically acclaimed and academically historically relevant..

Rocks and Waves, 2001, 60" x 72"

  American landscape painting began to take hold in the 1820s when artists like Thomas Cole, Asher B. Durand and the Hudson River School associated specific regions with the American identity imbued with the potential their new nation held. Their type of landscape with its shimmering waters, exactly rendered detail, and pastoral effects appears somewhat sterile to the modern sensibility because of its idealized perfection. Lind paints seascapes that really exist as metaphors of sensations and memories he has experienced. For Lind, painting the landscape is more than just a formal exercise in compositional design and painterly virtuosity, but it is these things also. Painting water makes it possible for him to reflect on and harmonize sea, land and sky at the horizon line that becomes the topos of interaction between the frothy water, rocks, and blue sky.



Lace, 1999, 48" x 78"

MLK, 2002, 60" x 50"

  Lind offers us expertly painted canvases evincing great understanding of academic artistic principles such as linear and atmospheric perspective, chiaroscuro, foreshortening, highlighting, color and draftsmanship, but offers us much more. His scenes are not merely painted copies of existing landscapes but rather sensuously, and poetically rendered evocations of places that hold tremendous significance both for the artist and the viewer. Such a work is At Montauk in which a rocky expanse at the top left portion of the painting blocks our entry into the pictorial plane because it is used as a repoussoir. At the top right however the composition opens and we are invited in via the echoing blues of the sky and sea as well as the brown strip in the foreground that reiterates the color of the cliff. At Montauk is a painting of a recognizable place, a popular vacation spot that signifies pleasure, relaxation for some and meditative contemplation for others. Lind renders the elements; sun, sky, atmosphere, water and waves in constant movement and flux as only a true master of landscape can paint them. Because of this constantly changing topography Lind must not only utilize his expertise in painting what he sees, but his memory also to paint images of effects no longer present.



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