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New Yorker Review: George Tice at Nailya Alexander Gallery

Posted By Administration, Saturday, January 26, 2013
Updated: Thursday, January 2, 2014


Through February 16, 2013

George Tice, Woods, Port Clyde, Maine, 1970, Palladium Print, Edition 1/30, 20 x 24 inches, Courtesy of Nailya Alexander Gallery
Throughout his career George Tice has challenged the every day, capturing the almost extinct, the nearly forgotten, the remains of American culture.

"It takes the passage of time before an image of a commonplace subject can be assessed. The great difficulty of what I attempt is seeing beyond the moment; the everydayness of life gets in the way of the eternal," George Tice (Getty).

Tice's images work as documents, becoming both record and artifact. Their rooting in time is strengthened through frequent dedication to formal balance. Urban scenes are darkly Hopperesque where light sharp or flooding becomes flickering beacon, as in Telephone Booth, 3 A.M., Railway, NJorPetit;s Mobil Station, Cherry Hill, NJ. We do not trust their perminance, though we are drawn to their flame. Indeed lights of the Strand Theater, Keyport, NJ seem to be fading and the sign going to rust. There can be a roughness and grit to the work, a gargoil in a view from the Chrysler Building seems ominous.

Tice's landscapes are painterly and elude time completely. Water lilies speak to the famous theme of Monet, and even perhaps too do the arches of Ferry Slip, Jersey City; long before these works, it was certain the artist was studied, but these work to solidify him in a variety of historical dialogue. His landcapes, as the cityscapes, manage a heavy concreteness of reality that is uniquly his own.

In the 60 years Tice has worked with photography he has been widely celebrated; some of his many accomplishments include seventeen publications and notable fellowships from the Guggenheim Foundation, the National Endowment for the Arts, the National Media Museum, and the New Jersey State Council on the Arts.

For more information on the artist please visit Nailya Alexander Gallery

New Yorker Review

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