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Lester Chiaramonte
The Artists in this show with few exceptions paint directly from life on location. Most paint out on the street, thus the name "The Street Painters". Many of these painters also share a commonality of texture. An "all over" heavy impasto is prevalent among several of the artist's works so that at first glance one might confuse these artists with one another. These thicker works are so jammed with texture, chroma and subject matter that they actually assault the viewer. Because of these aggressive attributes one might label these works "Assaultism" or more politely "Emotional Maximalism" or just plain neo-expressionism if that term had not already been used to cover other (more cartoony) areas of contemporary art.
It is interesting to note that in this brand of Maximal expression one can't really move anywhere in the space of the picture because its so full. With Minimalism, which seems to be the old enemy of The Street Painters, one can move in the arena of the picture plane quite easily but unfortunately there is no place to go and usually less to see. First time viewers of the Street Painters works accustomed to more minimalist art, will truly hone their perceptual skills. Often, overreaction by one "ism" against another "ism" brings civilization one step ahead. However, in this process something is often lost, or at best hidden or understated. I can only leave it to the viewer to decide whether this concept is valid or not. My own feeling about it is that a lot of air, or if you will, "aerial perspective," has been sacrificed in the creation of many of these works.
The true gems in this show, and there are many, do lie on the maximalist side of painting (more is more than "less is more" more or less). But these more successful works align themselves toward the middle range of texture and color and less toward the assaultive. These gems contain a great deal of power through subtlety and also joy and great beauty. There is seemingly a naive quality coupled with sophistication based on experience that transforms the viewer. These works place us behind the eyes of the artist when he was wowed by the awe of a miraculous visual delight. The way the show is hung also mirrors a maximalist approach. The pictures are all jammed together so that hardly any wall space is to be seen. For many spectators this is yet another assault, another imposition, but how like a New York street this imposition is!
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