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In anticipation of Mary Hambletons show Nothing By Mouth at Littlejohn Contemporary, Ron Janowich talked to the artist at her Brooklyn Studio in early February.
By Jim Long
A Futurist Masterpiece and the Avant-garde in Milan and Paris
Solomon R. Guggenheim Museum
Futurism is what often comes to mind when people try to imagine modern painting: a demolition derby of figures and forms, planes and colors, text strips and musical notations, smokestacks, cut-up buildings, speeding trains, and automobiles.
The impact of Kim Joness work is visceral, its the kind of stuff we resist putting words to; often the moment we do they seem to reveal their limits as inadequate to all that the work evokes.
While trendy art centers like Chelsea and Williamsburg begin to look more alike as both continue to transform into icons of corporate gentrification, fresh ideas and artistic ingenuity can be found within the small unbecoming galleries that populate the East Village and Lower East Side neighborhoods.
When walking into Harlems Triple Candie on Super Bowl Sunday afternoon, hours before the mania and media fanfare descended upon the nation, it seemed appropriate to find myself confronted with an installation that addresses Western sport culture through space and materials.
Steven Thompsons second exhibition at Kenny Schachter conTEMPorary is made up of six new works.
The large drawings by Matt Leines and Keegan McHargue in the two glass doorways on West 20th Street that are The Wrong Gallery feel something like the geometry of poetry, if there were such a thing.
Photography is no passive vehicle between events and viewers: Marco Breuers fourteen photographs and thirty-two studies at Von Lintel Gallery are events in themselves.
Based in San Diego, installation artist Jean Lowe draws much of her inspiration from Southern Californias generic suburban landscape, where candy colored stucco strip malls and endless concrete parking lots crisscross through various European architectural modes, disguising themselves as Disneyesque Roman remakes.
The title of this amusing if not slight group show at *sixtyseven refers to thematic use of nature in the works of twelve emerging artists.
In her recent series, Thiebauds, Sharon Core stages and photographs tableaus of cakes, pies, soup, and sandwiches that duplicate Wayne Thiebauds still-life paintings from the early 1960s.
Painting is dead. No painting is alive. No its dead, no its alive, no dead, no alive, dead, alive, yada yada yada.
A photograph of blood splattered in a sink greets you upon entering the Riviera gallery. A tube of white makeup rests on the side of the sink along with a dirty bottle of red liquid.
Mary Hambletons large paintings on panel at Littlejohn strive after complexity but attain only earnest enthusiasm.
In a manageable show of six paintings in Art Movings snug space, Adam Simon wrestles with ideas about consumer culture and its effects on human interaction and activity.
This exhibit of the later works of modernist pioneers, Giorgio de Chirico, Francis Picabia, and Andy Warhol, prompts a reevaluation of the artists comparative achievements.
Considering that reductive form and the exploration of Gestalt psychology are only part of John Duffs repertoire, the nature of his sculptures does not stem from Minimalism alone.