Dewitt Cheng, Huffington Post, December 31, 2010
George Lawson Gallery
San Francisco, California
The natural world was not so long ago considered the criterion by which we judged art: during the nineteenth century, fidelity to observable Creation paid homage to God’s creation (with God hiding behind the clouds, listening in); during most of the twentieth, the creation of personal mythologies would serve as surrogates for lost faith. In recent years, contemporary art’s embrace of new technology, of the commercial art market, and of literary-philosophical theories concerned with cultural symbols led to the general disappearance of nature from galleries.
Naturally, there were artist-dissenters, like Berkeley’s Judith Belzer. Her last series of polyptychs was entitled “The Inner Life of Trees;” in the current show of oils and watercolors entitled “Order of Magnitude,” she continues painting the natural world at a remove, finding micro and macro structures equivalent regardless of scale.
– Dewitt Cheng