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Friday, February 23, 2018

Today I came across an article by Addison Parks on my work that appeared in 2014 unbeknownst to me in Painters Table

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  1. WHEN JOYCE CREIGER paired Addison and me
    for our inaugural show in 1998 at the Creiger-
    Dane Gallery on Newbury Street, little did we
    know that she had initiated our twenty-year-long
    friendship. Little did I know that my exhibition
    partner had already achieved renown in the ’80s
    in New York, not long after graduating from the
    Rhode Island School of Design as part of the
    neo-Expressionists with shows at the Joan Washburn
    and Andrew Crispo galleries. He achieved
    parallel success as an art critic at ARTS Magazine
    and, when he moved to Boston, at the Christian
    Science Monitor.
    In 1998, Addison drew on his New York and
    Boston connections to mount a show of hybrid
    abstraction at Creiger-Dane entitled Severed Ear,
    which, in retrospect, could only be considered
    postmodern anticipating the Provisionalist
    painting that Raphael Rubinstein labeled as
    such in 2007. It bespoke his ability to befriend
    a diverse group of artists and also a highly intuitive
    mind that could sense connections unseen
    to most people.
    For more than a decade, Addison and his
    wife, Stacey Parks, ran the Bow Street Gallery
    in Cambridge. On occasion, he would host
    luncheons with gallery members and other gallerists
    where there were vibrant discussions on
    art that one gallery member described as Pinteresque.
    These are memories of Addison at his
    best, a brilliant conversationalist bringing people
    together to discuss the topics of art and life that
    defined his existence.
    People remember him. One evening, I was
    conversing with someone at the Milton Resnick
    and Pat Pasloff Foundation, telling him about
    the death of Larry Deyab, who had been Resnick’s
    studio assistant. Somehow the conversation
    turned to Addison’s death, and he said
    Addison had reviewed his first show in NYC.
    Recently, a Boston artist contacted me out of
    the blue to tell me what an impact Severed Ear
    had on his life and art. Addison was not a happy
    camper in Boston, and justifiably so, since a
    certain fussbudget mentality reigns in this town
    that was not sympathetic to charismatic types
    like him. He was an enthusiast in an art scene
    defined by doctors and lawyers.
    What is most memorable about Addison is
    his unbending resistance to those experts who
    wished to define him, whether it was the doctors
    who set timelines on his illness, or a stockbroker
    who thought he should go all tech stock in 2000.
    Sometimes I almost wondered if he possessed
    the wisdom of a shaman in the way his insights
    seemed to transcend the boundaries of practical
    knowledge. For all of these things and more, he
    will be greatly missed.
    — Martin Mugar