The Art Scene 06.09.11

Flat Hat for King
    William King, an East Hampton sculptor, accepted an honorary doctorate in fine arts from the University of Florida Gainesville during graduation ceremonies at the end of April. The accolade came at the same time that an exhibit of his recent work opened in a university gallery, alongside that of his wife, Connie Fox, a painter.
    Mr. King was born in Jacksonville, Fla., and attended the university at Gainesville from 1942 to 1944.

Outdoor Sculpture
At Bridge Gardens

    “Uncommon Ground II,” an exhibit of 18 outdoor sculptures by 11 contemporary artists, will open tomorrow at Bridge Gardens in Bridgehampton and run through the summer.
    The show takes its cues from a similar exhibit last year. Kevin Barrett, John Van Alstine, and Isobel Folb Sokolow will be in the show again, and Alexander Krivosheiw, Caroline Ramersdorfer, Norman Mooney, Herbert Mehler, Zoetrope, Michael Enn Sirvet, Peter Rosenthal, and Lila Katzen are new to it.
    Many works are site-specific and use the grounds’ features as an inspiration or are constructed there. The pieces often encourage interaction, whether it is walking around them, under them, on top of them, or through them.
    There will be an evening of music in the gardens on July 8 and an opening reception will be held on July 23. The sculptures will remain in place until Sept. 11.

Hart and Stiler
At Halsey McKay

    Halsey Mckay Gallery in East Hampton will open a show of works on paper by Joseph Hart and relief sculptures by Ruby Sky Stiler tomorrow. A reception will be held from 6 to 9 p.m.
    Ms. Stiler’s wall reliefs play with both painting and drawing while continuing to use the language and techniques of sculpture, whether freestanding or hung on the wall. The foam, resin, spray paint, and other materials she uses for the composition project into space and reference abstract and even ancient antecedents.
    Mr. Hart’s marks on paper can look as primitive as cave paintings or as refined abstractions sieved through Paul Klee or Wassily Kandinsky. He uses painting, drawing, and collage to arrive at his compositions and many imply movement. According to the gallery, “while Stiler puts the pieces back together, Hart seems to dismantle them. . . .”
    The exhibit will be on view through July 4.

Slivka at Pollock-Krasner
    This summer, the Pollock-Krasner House and Study Center in Springs is exhibiting two sculptures by David Slivka, who died in 2010.
    The sculptures are a memorial tribute to the artist, a regular guest at the house when its namesakes were in residence there. His former wife, Rose Slivka, who died in 2004, was an art critic for The Star.
    Slivka’s career began early with a job with the Public Works of Art Project, an early New Deal effort, when he was 19. He continued with the Works Progress Administration Federal Art Project and the San Francisco World’s Fair. In New York City in the postwar era, he became part of the avant-garde art scene. He began visiting Springs in 1945.
    The artist worked in stone, bronze, wood, and other mediums.
    On July 10 Joan Marter will present an illustrated talk, “David Slivka: An Artist of Many Dimensions,” at the Fireplace Project, 851 Springs-Fireplace Road, across from the Pollock-Krasner House.

Tschacbasov in Sag
    Large paintings by Nahum Tschac­basov can been seen in an unnamed gallery space at 197 Madison Street in Sag Harbor, at the corner of Jermain Avenue. They are being shown in conjunction with an exhibit at Southampton’s Arthur T. Kalaher Fine Art Gallery on East Job’s Lane that includes other work by Mr. Tschacbasov and paintings by Henry Bing, Richard Ericson, James Knox, Charles Levier, and Abraham Rattner. Both galleries are open seven days a week from 10 a.m. to 6 p.m.
    Mr. Tschacbasov, who died in 1984, immigrated to the United States from Baku in the Russian southeast when he was 8, moving with his family to Chicago. His early painting often depicted aspects of his social justice concerns. In the 1940s, he became interested in Surrealism and Cubism with a dose of Byzantine iconography and the Expressionism of his Russian roots. On view now at the Sag Harbor location are paintings from the late 1960s and ’70s, with a few pieces from the 1940s.