Still life oil painting

Still life oil painting
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The conversation pieces are actually worth talking about. Hannah Fink's oversized shoe sculpture is delightfully distressed, a crumpled, crinkled canoe for a giant's foot. Bruce Niedzwiecki's ''Joy to the World'' is a funky, feisty combination of storybook throne and political funhouse. On one side is a frog; on the other, a portrait oil painting of a sullen Barack Obama in a frog-eye mirror.Several artists deftly rearrange diverse worlds. Kenneth Kaplowitz's pigment prints are cunningly detailed, sophisticated cartoons of disembodied characters writing, kissing and designing a leaning tower. William Tersteeg's raku vase features a paneled landscape oil painting, a starry top and a strong resemblance to a miniature Japanese-Indian pavilion.

There's a lot of elegant humor, a difficult trick. A choice example is Brad Browne's gently eavesdropping gelatin-silver photograph of nine Amish women lunching on a hill above a cow pasture. Selenium toning highlights the different colors of the otherwise identical clothes, separating the women from the herd.Even the novelties are pretty novel. A portrait oil painting by Christian Faur is composed of tiny crayon heads that mimic tracer lights on a marquee. Seen from the diagonal, it becomes a pointillist photo.One surprise is that a good third of the 65 objects are textiles or textile mirages. The high percentage somehow makes sense in a museum that specializes in fabric pieces. Even better, all the works chosen by guest curators Chakaia Booker, James Carroll and Michiko Okaya are valuable in one way or art painting. Especially compelling is Charles Swanson's ''Destruction,'' a ripped flag made of barbed wire and shattered glass.

The biggest surprise is Ann Bandami's ''Fantasia in E Flat,'' an Old Masterish still life oil painting starring a rolled-up music score, a violin and a ghostly bowl of fruit. The juried show is typically too hip for such a radically traditional oil; indeed, it would be more welcome in the museum's Kress Collection of early European paintings. Unless, of course, you think that that ribbon-tied score could be mistaken for a fat, fancy doobie. Juried show, through April 26, Allentown Art Museum, Fifth and Court streets, Allentown. Hours: 11 a.m. to 5 p.m. Tuesday-Saturday, noon-5 p.m. Sunday. 610-432-4333,.PLAYGROUND FOR A WILD CHILD. Figure oil painting wyeth was arguably the wildest of her family's wild children. She often loved animals better than humans, and dogs better than her art works. Her father, N.C., built her a studio onto his, then watched in exasperation as she ignored his advice to build paintings with drawings. His daughter, he insisted, was ''an enthusiast, anarchist, pugilist -- and angel all in one.''A solo exhibit at the Brandywine River Museum confirms Wyeth (1909-1994) as the family chameleon. She could be a modernist, painting an old apple tree with cracked, glazed ceramic bark. She could be a surrealist, painting a metaphysical still life oil painting with a copy of Keats' death mask.