FEB 2015 | ArtSeen
The body gives itself to the visible, to presence, making it something too easily objectified, idolatrizeda tension embedded in the portrait. In her recent exhibition at White Columns, Mexican-born, New York-based painter Aliza Nisenbaum utilizes portraiture to draw out this excessive visibility of the body and what this visibility obscures: namely, the body as place of torsiona twisting convergence of presence and absence, actuality and dream, thought and flesh.
JUNE 2012 | ArtSeen
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.