The Delaware Center for Contemporary Arts was buzzing with children creating art at work tables and touring the galleries trying to spot the art on their recognition sheet. Susan Isaacs, back to fill in the gaps left by staff reductions at the DCCA, gave a compelling gallery walk lecture. Starting in the Elizabeth Dennison Hatch Gallery, the Julio da Cunha exhibit (yes, the former UD professor has a studio at the DCCA again), Isaacs talked about the contrasts of color da Cunha used in his tribute to Baudelaire’s Les Fleurs du Mal. Each of his works has striking color contrasts, but the combinations of color make a very carefully constructed effect. Having an artist with the experience and longevity of da Cunha gives a certain gravitas to the DCCA’s membership – and Dr. Isaacs’ knowledge and lecture and writing experience puts meat on this local art table.
The Carole Bieber and Marc Ham Gallery still has most of the exhibit chosen by Carina Evangelista for June (Spectrum: Contemporary color abstraction). Isaacs pointed out that Bill Scott’s A brief moment of titillation, an abstract with a bright pink/orange background was really influenced by Henri Matisse. Dr. Albert Barnes’ acquisition of Matisse in the early 1900s brought his influence to the United States. (The Cone sisters had begun collecting Matisse but kept them in their home until the 1950s). Isaacs has added works to the exhibit: Steven Baris’ abstracts on mylar and Emily Bowser’s Radiation, a sculpture of brightly colored beanbags.
The tiny E Avery Draper showcase was painted sea blue to show off Joseph Barbaccia’s Eight currents - fanciful sea creatures decorated with brightly colored sequins.
The Beckler Family Gallery housed the bright colors of Lawrence Cromwell’s Make it bigger. His cut paper mobiles, his videos and his vivid color oil and wax works were as refreshing and restorative as the summer evening.
Exhibits will be changed July 25 and August 1. The new works will be on display for the August 6 Wilmington Art Loop.