It could be argued that the central artist in this show at Columbia's Wallach Gallery is the Hudson River itself. The exhibition brings together works of art, cultural objects, and science to demonstrate the cycle of devastation and reclamation seen across the shores of the Hudson. This show came at a time when ecological disasters rear their ugly heads across the country - wildfires in New York and New Jersey and back-to-back hurricanes in Florida.
The layout takes viewers through this cycle, constantly offering juxtapositions - like a before and after the influence of human industry and exploitation. In this fashion, visitors are first met with a comparison of Thomas Cole’s 1838 oil painting “North Mountain and Catskill Creek” and the 1880 oil painting “Lower Manhattan from Communipaw New Jersey” by Thomas Moran. These two works offer separate perspectives of idealization and reality, which set the tone for the remainder of the show.
Historical lessons about the Hudson are woven into the viewer experience through eye-level plaques and informative wall text for each piece. As enjoyable as the overall art historical experience was, the space felt over-curated. There is a lack of breathing room between the works, leading to an almost overstimulating sensory experience. There is an immense amount of material to see, but is all of it entirely necessary? It is difficult to fully digest the comparisons offered up by the exhibition when it is difficult to separate the elements from one another. However, the show remains one of the least tone-deaf I have seen; everything speaks to something and the acknowledgement of first-nation contributions are prevalent. It is relevant, useful, and has the capacity to inspire as art should.
- Alex Lopez-Martinson*
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