I wondered if I would find them as appealing in a different, less terrifying context. I looked at Reeder’s wiseacre and semi-Matissean images on my laptop during the sixth week of quarantine in New York City, and the works felt like a respite from the endless horrors playing out everywhere. It appears wistful, but for all we know it could be nursing a murderous rage. There is only one solitary figure depicted in this show: an ice-cream cone gazing at a nighttime cityscape from a posh apartment. The emotional lives of these foodstuffs, once you stop chuckling, remain ambiguous and somewhat troubling, colored, of course, by whatever the viewer brings to them: We may wonder if the voyeuristic banana is turned on or livid with envy, if the butter is dumber than the bread for trying to get a tan, and what the power and sexual dynamics might be in a fruit-based relationship when patiently sorted out in counseling. The humor in these paintings arises from the incongruity of what the artist and writer Wyndham Lewis identified as “the sensations resulting from the observations of a thing behaving like a person.” (A comic by the New Yorker’s Charles Barsotti-a master of canny anthropomorphizing-of a traumatized orange rind and an unrepentant juicer as guests on The Jerry Springer Show comes to mind.) Reeder’s comedic tableaux are disarming-silly and almost sweet on the one hand, yet deadpan and equivocal on the other. In Bread & Butter (Museum), 2020, the titular duo gaze at an abstract painting elsewhere, the pair spend a day at the beach, where the bread goes for a swim and the butter, unwisely, sunbathes. Single grapes roll about on the floor as the pear listens, looking somehow steadfast and compassionate as its client goes to pieces. Another painting finds the grapes on a therapist’s couch in a flatly rendered, nearly featureless office. This banana appears once more in Purple Interior, 2019, checking out the pear as it salaciously mounts a bunch of grapes. In a room lit by dawn-colored light ( Green Interior, 2020), a pear and a banana embrace in bed-a ripped-off peel lies on the floor-as another banana watches them through a window. An additional location was established in 2005 at 4635 Gulfstarr Drive in Destin.In the serenely colored paintings of “Didactic Sunsets,” Scott Reeder’s first solo exhibition at Canada, food and flora go about their daily lives. The firm moved to its present Fort Walton Beach location, 24 Walter Martin Road, in 1983. Following the retirement of Pat Demski in 2005, the firm again changed its name to the current name, Nicholson, Reeder & Reynolds, P.A. In 1997, Diana was admitted as the newest partner. Nicholson retired from the firm in 1993 after almost 35 years of public accounting. Reynolds, a 1983 graduate of Choctawhatchee High School and a 1988 graduate of the University of Florida, began working with the firm straight out of college. In 1985, Pat accepted the invitation to be partner and the firm name changed to Nicholson, Reeder & Demski, P.A.ĭiana S. Demski, a 1971 graduate of Choctawhatchee High School and a 1975 graduate of Florida State University, began working with Nicholson & Reeder in 1977. In 1976, the partnership Nicholson & Reeder Certified Public Accountants was established. Nicholson to be his mentor and accepted his invitation to join him as a partner. Nicholson’s accounting firm in 1973 and considered Mr. Reeder graduated from the University of West Florida in 1972 and began working with the Miami office of the national CPA firm, Haskins & Sells (currently Deloitte & Touche). The original office was located at 54 Beal Parkway in Fort Walton Beach and consisted of a staff of two. Nicholson founded his own local accounting firm as a sole proprietor.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |