Dean Rosenzweig installation

by A.D. Amorosi

art

To some, Dean Rosenzweig is a singer-lyricist for the druggy, cranky metal of Cream Chargers with guitarist Debbie O'Mara. To others, he's the guitarist alongside Ethan Kairer, Mark Boyce and Jamie Mahon for his pop-tuned Catnip. Yet those who know Rosenzweig know well his violent but playful acrylic-and-oil-stick paintings. Laced with nervous drawings (photocopied and pasted), his paintings have been compared to the Manhattan school of the early '80s -- the broken lines, plates and heavy text of Julian Schnabel, Francesco Clemente and, most particularly, Jean-Michel Basquiat. "I don't mind the comparison," says Rosenzweig, pointing at paintings named Matilde (Basquiat's mom's name) and homages slathered with crowns and the word "Samo" (Basquiat's "tags" for his work). Rosenzweig also seeks Basquiat-like communion for his large-scale exhibition. "Basquiat and Warhol collaborated with Clemente on the most beautiful paintings. That kind of collaboration is missing in Philadelphia, one where artists from different backgrounds work on one project together," he says. Rather than hang only his own Gabby, Milk (named after his cats) or an autobiographical Swag (his nickname), Rosenzweig will paint over the full-room "Cave" installation laid down by political cartoonist John Overmyer throughout the entirety of Bar Noir, leaving a large block of Overmyer's shocking red cave etchings in an homage to that artist's hard work and aesthetic. Rosenzweig then will paint within the wall paintings and scribblings of artist-Cream Charger bassist J. Elberson on top of projections from lurid photographer Tony Ward. "We'll project Tony's pictures, trace them with paint, then "dozenswag' them," says Rosenzweig, nicknaming his installation's final coat of Basquiat-like scribble-scrabble.

Dean Rosenzweig installation, with J. Elberson and Tony Ward, Mon., March 29, 9-11 p.m., exhibit through May 17, Bar Noir, 112 S. 18th St., 215-569-9333.

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