Aaron Curry has created an allover environmental installation for the relatively small gallery space at Michael Werner. Yet, despite the boundaries of a limited room, or perhaps because of them, he has successfully created an environment whose mixed influences demonstrate just how well the artist has done with internalizing other artists visions and making them his own.
For this group exhibition at the Casita Maria Center for Arts and Education, artist and curator Felix Morelo invited local Bronx artists to explore the themes of restriction, limitation, and confinement.
Varda Caivano and Yael Davidss two-person exhibition opened during Berlins hectic Gallery Weekend, and despite the profusion of new shows in the city, this proved to be the one not to miss.
Though even in presence, faint as fading dreams with a few familiar, recurring signs clinging to memory, Shura Chernozatonskayas images tenaciously linger. Her show is married to the mind, in which it refuses to be disassembled.
The exhibition clarifies the fact that Conceptual Art was not only an American or New York phenomenon. It was happening in Europe and, to a certain extent, was present in Japan, South America, and laterin some case rather profoundlyin Eastern and Central Europe.
There are few things in the real world that Dan Flavins light environments correspond to. Viewing a Flavin sculpture is about experiencing electric color inhabit its surroundings. This fluorescent-borne light washes blank walls with glowing, gradient hues, appearing painted.
In her first solo show, N. Dash presents a body of work comprising both wall pieces and photographs, wherein she expands upon her longstanding interest in deconstructing the traditional boundaries separating image from support in painting and sculpture.
Ellen Phelans relationship with drawing has always been the key to her non-conformist spirit as an artist.
The idea of an origin is problematic for a number of reasons, one being that it would seem to suggest a starting point without precedent and, of course, thats impossible.
I first encountered the graphically visceral, clay-based animations and musical scores of Nathalie Djurberg and her collaborator, Hans Berg, at the 2007 Performa Biennial, for which the two were commissioned to perform one of Djurbergs films live.
I have eaten a pot cookie weighing between two and three ounces and about two inches in diameter. It was crunchy. I ate it in three pieces, the first at 5 p.m., the second at 5:20 and the third at 5:40. It is now 6:18 p.m. and I estimate that the effects of the drug should just be setting in.
Sam Gordons trompe loeil, his seventh solo show at Feature, consists of a series of collage-like paintings that seem, when taken together, to reveal the artists heady, abstruse exploration of his own private language.
Besides the anti-Oedipalist pairing of Deleuze with Guattari, the fatal actor Antonin Artaud, and the undaunted ex-Minister of Excess, Georges Bataille, there are few others who could escape the scathingly promiscuous beauty inscribed in the paintings and sensuous auditory and multimedia works of Joseph Nechvatal.
When I think of Martin Puryears work, I think of its exquisite nature in relationship to our contemporary history, and of the benevolent yet fierce spirit that each piece generates.
Taylor Daviss show at Dodge Gallery features two- and three-dimensional works, most incorporating text.
As the title of the current exhibition suggests, Time-Lapse showcases pieces that either address the subjective experience of time or rely expressly on the passage of time to achieve full realization. Works accrue gradually, offering visitors a unique viewing experience every day, if not every minute.
During my most recent six-week trip to Japan, with my sense of distance and displacement quickly reestablished I was struck by the serendipity of concurrent retrospectives of the, yes, groundbreaking work of Atsuko Tanaka and Jackson Pollock, at the Museum of Contemporary Art Tokyo (MoT) and the National Museum of Modern Art, Tokyo, respectively.
Comprising multiple painted vase-like structures, as well as three large-scale paintings, the exhibition plays out a tension-in-contiguity between painterly sculptures and sculptural paintings.
Fiona Rae: Maybe you can live on the moon in the next century at the Leeds Art Gallery (through August 26th) and Michael Dean: Government at the Henry Moore Institute (through June 17th) share little commonality beyond the fact that their exhibiting galleries are next door to each other, but both abundantly fulfill architectural tropes ascribed to the visual arts.
You wouldnt know it at first, but Kelly Jazvac is really into vinyl and death. The London, Ontario-based artist has been creating work from salvaged adhesive vinyl for nearly a decade, collecting scraps from often reluctant commercial printers and sorting them by color and size for later use.
The second floor of the Carlyle Hotel is the site of Blain|Di Donna, where a magical rendezvous with 34 works by an artist/philosopher invites us to surrender to a trance state of mind. André Masson (1896-1987), whose early works are on view here, was a key figure in Surrealism.