The immediate impression of Jenny Hankwitzs paintings crisp, bright paintings is that they express a release from restraint. Unabashedly ornamental, Hankwitz assimilates mark making from pop, but instead evoke natures prolific order rather than a critique of our cultural icons and clichés.
I once had a discussion with an art historian friend who insisted that the uniqueness of John Graham is almost identical to that of Emile Bernard. My friend really meant that both were lesser painters, but their ideas and intelligence had great significance in broadening new possibilities for their contemporaries.
I feel slightly bad about trashing a 303 artist again, and so soon, but this show deserved it even more than the gallerys previous one.
p>The two stunning videos in Tracey Roses second solo show at The Project offer a strong concoction of the urgent conceptual theme of identities in the global context through an appealingly unpretentious yet formally acute aesthetic.
In 1989, painter R.B. Kitajs wrote about a Diasporist art. Something that came out of an artist that paints in two or more societies at once. A flexible position that was as old as the hills (or caves) but new enough to react to todays newspapers or last weeks aesthetic musing or tomorrows terror.
First of all they arent simply paintings. Nor are they pure abstraction.
When I arrived at Galerie Les Filles Du Calvaire in Paris, I encountered a wrought iron gate and a small courtyard before reaching the glass front of the gallery. Once inside, I stood in a small office with three women, a bar on the right side and the exhibition space in front of me.
Go straight east from Williamsburg, cross the Atlantic Ocean, and the first landfall will be at Lisbon, Portugal. What follows is a visitors analysis of the art scene in Lisbonhow it functions and whom it favors.
Every two years, the Whitney Biennial offers the world an assessment of the state of contemporary art, but the ensuing debate often seems less about the art than the curating.
In her first solo show at the dealership, curated by Liz Alderman, Jenny Dubnaus series of large scale portraits is an impressive as any serious or well known figurative painter working today.
Installed opposite the Empire State Building in the midst of 34th Streets commercial mayhem, this exhibition presents a group of 16 artists responding to the contradictions of globalization. Divided into two separate rooms, the first part of the exhibition consists of photographs, some with text, two web projects, a banner, a drawing, a DVD, a tent, and a project space installed with drawings, text, and a tape recording.