At first glance, the subjects of Alan Magee’s paintings might seem mundane. However, the artist seeks to “record the pure sensation of objects as abstract thoughts,” Forum Gallery suggests. How will you see the works?
Opening on May 12 at Forum Gallery in New York City, “Alan Magee: Songs for All Hours” is the type of art exhibition that could be a profound spiritual experience. How? The key to this experience is attaining what the artist calls “true seeing.” Forum Gallery writes, “Alan Magee’s practice is to record the pure sensation of objects as abstract thoughts; he believes that analysis of our response as we look at and discover the world leads to a sensory spirituality that affects our perception.”

Alan Magee, “Battlefield,” 2016, acrylic and oil on panel, 36 1/4 x 45 in. (c) Forum Gallery 2016

The exhibition will feature 23 of Magee’s newest works with his typical subjects, which are drawn from history and are both natural and manmade. Continuing, the gallery reports, “In this exhibition, tools, machine parts, artists’ materials and his enduring river stones take center stage. Ranging in size from 10 x 8 inches to 4 x 6 feet, the paintings on view demonstrate Magee’s ability to see beyond the physicality of each object portrayed.”

Alan Magee, “Afterword,” 2016, acrylic on panel, 10 x 8 in. (c) Forum Gallery 2016

“Alan Magee: Songs for All Hours” opens on May 12 and will hang through July 1. To learn more, visit Forum Gallery.
This article was featured in Fine Art Today, a weekly e-newsletter from Fine Art Connoisseur magazine. To start receiving Fine Art Today for free, click here.

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Andrew Webster is the former Editor of Fine Art Today and worked as an editorial and creative marketing assistant for Streamline Publishing. Andrew graduated from The University of North Carolina at Asheville with a B.A. in Art History and Ceramics. He then moved on to the University of Oregon, where he completed an M.A. in Art History. Studying under scholar Kathleen Nicholson, he completed a thesis project that investigated the peculiar practice of embedded self-portraiture within Christian imagery during the 15th and early 16th centuries in Italy.


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