Bleeding shadows and pulsing points of light define quasi-mythic action in Alessandro Pessolis psychedelic landscapes. Tie-dye t-shirts meet 19th century Symbolist painting to create comic, loosely narrative episodes that transpire in an aqueous underworld. In his second show at Anton Kern Gallery, a single wall is covered by grids comprised of small drawings in watercolor and tempera on paper.
Matthew Ritchie is a visionary thinker who makes decorative, diagrammatic paintings where pictorial information spills from its rectangular boundaries and commandeers real space. In his latest show at Andrea Rosen Gallery, Matthew Ritchie: After Lives, he sought to detail a transformational cycle that encompassed birth, death, solidity, and liquidity.
Scruffy but fluid, disguised in a wide array of visual vernaculars, Joe Brainard went incognito: the artist, usually identified by a single style or a coherent, lifelong project, is in this case unrecognizable. Brainard moved to Manhattan in 1962 at age 20, where he lived until 1994, when he died of AIDS-related pneumonia.
Leslie Bracks recent show of small oil paintings of collages, entitled Art in America, depicts an idiosyncratic array of images (a Led Zeppelin album cover, a postcard of Miami at sunset, a Gerhard Richter painting) that serve as grounds over which figures, both animal and celebrity, or text, cut and pasted, ransom-note style, are overlaid.
The Royal Art Lodge is the faux secret society name of a Winnipeg based artists collective that has been meeting once a week since 1996.