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Robert R. Shane

ROBERT R. SHANE received his Ph.D. in Art History and Criticism at Stony Brook University and is Associate Professor of Art History at the College of Saint Rose, Albany, NY.

In Conversation

GLADYS NILSSON with Robert R. Shane

Star Trek and opera are among the many sources that have informed Gladys Nilsson’s hilariously irreverent paintings and collages since her time as a Hairy Who? (1966–1969) member. Erotic and grotesque characters engaged in humorous plots and subplots populate her densely packed, carnivalesque scenes in acrylic or watercolor.

Totally Dedicated: Leonard Contino, 1940-2016

Like a retablo in electric hues, a wall of 17 abstract paintings (1966-1977) by Leonard Contino arranged in three tiers, towers over the viewer and echoes in the reflection of the polished floor of the Dorsky Museum.

Odessa Straub: There’s my chair I put it there

Throughout the exhibition the restorative and sexual relationships evoked in these works reveal a fragile yet perseverant Eros. Straub’s artwork reconceives sexuality as an intimate mode of living that is receptive and responsive, tender and creative, and as vulnerable as it is giving.

Silke Otto-Knapp: In the waiting room

Silke Otto-Knapp’s exhibition ecstatically blurs your inward perception of movement with your real locomotion through the gallery as your eyes and body move with the paintings.

CAMERON MARTIN:
ABSTRACTS AND RETICULATIONS

Cameron Martin is known for his black-and-white landscape paintings informed by semiotics, but for the last three years the artist has been working on a new body of nonrepresentational paintings and drawings.

Painting at Night

Historically the professional art world has depreciated motherhood—forcing artists to choose between careers and motherhood or hide their status as mothers lest their work be dismissed1—but a new wave of exhibitions and online communities over the last five years or so has been challenging this.

Alberto Alejandro Rodríguez: Destruktion

The exhibition title, a term used by Heidegger, made its way to Alejandro Rodríguez via the writings of Derrida, whose famed attention to the play of binary oppositions plays a role in the artwork: here, we find such an oscillation between absence and presence. Above all, Alejandro Rodríguez’s project is invested in the imagination of ruin, exploring how images of destruction are constructed.

Amy Bennett: Nuclear Family

Although not the central theme in the exhibition, the complexity of motherhood, often eclipsed in the history of art by idealized images of maternity, is one of Bennett’s most important contributions in Nuclear Family, as she illustrates the changing roles mothers play within the “nuclear family” since the term entered popular parlance in the last century.

Theresa Bloise and George Boorujy: Messenger

Messenger does not in and of itself repair the environment, but as it poses the future as an unanswered question—left blank in Boorujy’s voids and given one possible vision in Bloise’s landscapes—it offers a space for rethinking and re-feeling our ethical relationship to our shared Earth.

Harold Mendez: The years now

Harold Mendez’s The years now memorializes centuries compressed into the singular space of the present.

Karen Kilimnik

Karen Kilimnik’s self-titled exhibition assembles nearly 80 works (2001–present) of painting, video, photography, collage, and readymade, borrowing imagery from pastoral landscapes, Tsarist Russia, classical and romantic ballet, pop culture, and Hollywood movies.

Diana Copperwhite: The Clock Struck Between Time

The question one asks while experiencing Diana Copperwhite’s new paintings is: When are they happening? As the exhibition title, The Clock Struck Between Time suggests, the artwork places us in an ambiguous temporal space, drifting from the present moment into a memory still struggling to take form.

Francesca DiMattio: Statues

Francesca DiMattio’s monstrous 9-foot tall She-Wolf (2018), with a bulbous black head stretching out from grafted human and animal forms, including a porcelain human front leg and a life-sized hunting dog standing in for a rear leg, restores the wildness of this maternal wolf once immortalized in the famous Etruscan bronze (500 BCE) that the sculpture references.

Nick van Woert

In many of van Woert’s works over the last decade or so, the artist has investigated the relation between our bodies and the waste we produce in our industrial, hyper-consumptive society.

Temporal Nomads:
The Scandal of Postmodern History Painting

Traditional history painting’s stories demonstrated the best in human endeavors—according to the bias of their Eurocentric patriarchal culture.

Francis M. Naumann’s Mentors: The Making of an Art Historian

An art historian’s memoir looks at the role of academic and artistic mentors through the lens of Duchamp’s readymade, exploring the ways in which we chose to adopt the characteristics and ideas of our influencers.

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The Brooklyn Rail

JUL-AUG 2020

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