Aug 222019
 

A Universe of One, 2018

A Universe of One, 2018 (detail)

The Dream of Flight, 2019

The Dream of Flight, 2019 (detail)

Currently at Kohn Gallery is New York-based artist María Berrío’s first solo exhibition in Los Angeles.

From the press release-

Inspired by her youth in the countryside of Bogotá, Colombia, Berrío’s paintings explore the experience of immigrant identity, intercultural connectivity and the beauty that is found in the diversity of cultures and countries. Berrío depicts her figures with richly detailed and patterned backgrounds of exteriors and interiors. The large, detailed mixed media canvases employ lush, carefully crafted, multilayered Japanese papers and paint, resulting in scenes replete with pensive yet confident figures amid a scene of visual exuberance.

Berrío’s work often places female figures at the center of her intricately woven landscapes. Painted with watercolor details, her figures stare out of the composition determined to confront the viewer from their own surreal surroundings. Her work is evocative of predecessors such as Gustav Klimt and Egon Schiele, both known for their exceptional degree of emotional directness and figural distortion in the place of conventional beauty. Berrío’s works float seamlessly between historical and contemporary artistic styles as they employ a wide visual vernacular ranging from expressionism to graphic, abstract marks.

The variety of media and techniques found in María Berrío’s practice emphasizes the interwoven cultural breadth of the world in which we live, where globalization and injustice touch the lives of everyone. Each character Berrío paints is a symbol of this new reality and the strength that can issue from it. For the artist, a female soldier on the front lines is as brave and mighty as the mother who protects her children from the perils of war. These depictions of women are seen as guiding spirits who are strong, vulnerable, compassionate, courageous and in harmony with Nature and themselves. With these combinations of human traits and emotions, Berrío fortifies her belief that with womanhood every action is considered beautiful and strong, no matter how small or large.

For her current show, A Cloud’s Roots, Berrío focuses especially on place and migration. The individuals are seen in preparation for their travels, in moments of transition, and in various states of uncertainty. Berrío states, “the ambiguity is intentional; although I may have a specific idea in mind when making the work, the actual piece lacks cultural specificity to allow for all symbolic possibilities.” Berrío therefore gravitates towards symbols with global cultural significance, such as braids, birds, and flowers, with the hope that they allow diverse audiences to bring their own understanding to the work.

In her recent work, A Cloud’s Roots (2018), Berrío creates a fictional species of tree based on the dragon’s blood tree, found exclusively on an island off the coast of Yemen. The dragon’s blood tree has adapted perfectly to the island’s desert-like climate and rocky soil, inhospitable to most other plant life. It is a powerful symbol of survival and resilience, able to thrive even in the most unlikely conditions. The figures in the piece are compelled to leave their home but they carry with them the knowledge that they too have the power to put down roots wherever they go.

By reflecting on the beauty of our immigrant nation, Berrío’s new body of work aims to rewrite the narrative of American history to include the stories of people who have long been excluded. It makes space for those who were not born in this country, but come here full of hope and desire to make it their home. As the art canon expands its scope and redefines its boundaries, Berrío imagines a future in which people with diverse perspectives can walk into an institution and see themselves reflected back. Berrío states, “so many immigrants, myself included, are stuck in the inbetween, not quite from here, and no longer from there. I create work that bears witness to this liminal state of being and acknowledges it as an essential part of being American. I wish to convey that which can never be conveyed: the sheer joy of being, of creation, and the undiscoverable mystery of being alive.”

This exhibition closes 8/24/19.

Also, if you are in New York City, she recently created several glass and ceramic mosaics that can be seen in the Fort Hamilton Pkwy Station.

 

Jun 292019
 

“Graduation”, (1949) © Estate of Roy DeCarava

We look at so many images today that often the value of individual photos decreases with the abundance of them. That’s why it is such a pleasure to spend time with Roy DeCarava’s black and white photographs at The Underground Museum. His images have a meditative beauty to them. They catch your eye and hold it. There is a richness to his compositions, his use of textures and light.

While at The Underground Museum, also take a moment to look through a copy of De Carava’s book collaboration with writer Langston Hughes, The Sweet Flypaper of Life in the book store.  The images in it influenced artist Kahlil Joseph’s film Flypaper (2017), which was recently shown at MOCA.  Kahlil Joseph’s brother, artist Noah Davis, who sadly passed away in 2015, founded The Underground Museum with his wife, artist Karon Davis, in 2012.

Roy DeCarava: The Work of Art closes 6/29/19.

 

“Bill and son”(1962) © Estate of Roy DeCarava

 

May 132019
 

ONE Gallery in West Hollywood is currently showing The Gutter Art of Stephen Varble: Genderqueer Performance Art in the 1970s photographs by Greg Day. The artist died in his late 30s and would have remained virtually unknown if not for curator David Getsy researching, collecting, and documenting everything he could find on Varble.

His performance pieces were often both audacious and humorous and the exhibition details several of them. Varble popped open blood filled condom breasts in protest at a bank (proceeding to use the blood to sign a check for “zero million dollars”), crashed the Met Gala and the premiere of Tommy, and gave “costume tours” of big name art galleries in Soho, challenging the status quo. In our current world of corporate bailouts, rampant capitalism, and celebration of the rich, its fun to imagine what kind of work Varble might have created today in response.

From the press release-

In costumes made from street trash, food waste, and stolen objects, Stephen Varble (1946–1984) took to the streets of 1970s New York City to perform his “Gutter Art.” With disruption as his aim, he led uninvited costumed tours through the galleries of SoHo, occupied Fifth Avenue gutters, and burst into banks and boutiques in his gender-confounding ensembles. Varble made the recombination of signs for gender a central theme in his increasingly outrageous costumes and performances. While maintaining he/him as his pronouns, Varble performed gender as an open question in both his life and his work, sometimes identifying as a female persona, Marie Debris, and sometimes playing up his appearance as a gay man. Only later would the term “genderqueer” emerge to describe the kind of self-made, non-binary gender options that Varble adopted throughout his life and in his disruptions of the 1970s art world.

At the pinnacle moment of Varble’s public performances, the photographer Greg Day (b. 1944) captured the inventiveness and energy of his genderqueer costume confrontations. Trained as an artist and anthropologist and with a keen eye for documenting ephemeral culture as it flourished, Day took hundreds of photographs of Varble’s trash couture, public performances, and events in 1975 and 1976. Varble understood the importance of photographers, and Day was his most important photographic collaborator. This exhibition brings together a selection of Day’s photographs of Varble performing his costume works and also includes Day’s photographs of Varble’s friends and collaborators such as Peter Hujar, Jimmy DeSana, Shibata Atsuko, Agosto Machado, and Warhol stars Jackie Curtis, Taylor Mead, and Mario Montez.

Varble sought to make a place for himself outside of art’s institutions and mainstream cultures all the while critiquing them both. The story of Varble told through Day’s photographs is both about their synergistic artistic friendship and about the queer networks and communities that made such an anti-institutional and genderqueer practice imaginable. Together, Varble and Day worked to preserve the radical potential of Gutter Art for the future.

The Gutter Art of Stephen Varble builds upon the 2018 retrospective exhibition of Stephen Varble’s work at the Leslie-Lohman Museum of Gay and Lesbian Art, New York, titled Rubbish and Dreams: The Genderqueer Performance Art of Stephen Varble, as featured in the New York Times on January 11, 2019.  The new ONE Gallery exhibition, with its focus on the collaboration of Varble with the photographer Greg Day, will explore the ways in which Varble’s disruptive guerilla performance art has lived on primarily through vibrant photographs that captured his inventive costumes, transformed trash, and public confrontations.

This exhibition closes 5/17/19.

*For an additional perspective on the artist- Stephen Varble was friends with a 14-year old girl in NYC named Fernanda Eberstadt who kept diaries detailing her time with him. She wrote an interesting piece for Granta about him, reproduced here.

Mar 292019
 

The Whitney Museum’s exhibition, Andy Warhol – From A to B and Back Again is a great representation of the artist’s body of work. Despite the fact that so much of it has been seen before, the curation makes so much of it feel fresh.

Andy Warhol’s artistic legacy is vast. He created a prolific amount of work throughout his career and the exhibition covers a lot of it. From his early commercial illustrations to his more abstract pieces, his collaborations with Basquiat, his silk screen portraits, his videos, films, and books, there is a lot to see. Below are a few highlights.

Warhol’s fascination with death is seen in numerous works in the exhibition. In 129 Die In Jet, 1962 (pictured above), he recreated the newspaper cover by hand and even used a sponge-blotting technique to reproduce the look of the halftone image. It’s interesting to see how this work foreshadowed his move to the screen printing process. This technique combined with his interest in the subject of death can be seen in his car crash paintings made the following year.

There’s a room dedicated to reproducing Warhol’s Cow Wallpaper, which he used to fill a room in the Castelli Gallery as part of a 1966 installation where he “retired from painting”. He used it again in 1971 for a retrospective at the Whitney, where he directed that all the works be hung on it for the exhibition. It’s a creative way to tie in that history and to present the various colored flower paintings.

Some of Warhol’s portrait series, Ladies and Gentlemen, 1975, which focused on members of New York’s queer community, is included in the show. It’s a nice contrast to his portraits that more commonly feature socialites and Hollywood celebrities.

His giant portrait of Mao is impressive, and takes up a wall in one of the galleries. It’s a reproduction of a painting by Zhang Zhenshi, which was at the time thought to be the most widely reproduced artwork in the world. Warhol created the work in response to reading about then President Nixon’s trip to meet with the Chinese leader, while China was still considered an enemy of the United States.

On a separate floor are several monitors playing Warhol’s video work and work related to the artist. Included is one of him eating a Burger King burger, shot by Danish documentarian Jørgen Leth, that the fast food chain used as part of their ad in this year’s Superbowl.

Warhol was a constantly evolving artist who worked in many mediums, in effective ways. The exhibition is a testament to Warhol’s unique perspective and how his work continues to resonate in a time period where so much of what he was commenting on has even more relevance.

Andy Warhol – From A to B and Back Again, closes 3/31/19 and is free Friday from 7-10pm.

Mar 012019
 

Matvey Levenstein, LY, 2018

Currently at Kasmin Gallery are Matvey Levenstein’s paintings depicting scenes from his life in North Fork, Long Island. There’s a quiet, peaceful quality to the works, which begin with snapshots before they are turned into paintings. This exhibition closes Saturday 3/2/19.

Across the street at another of Kasmin Gallery’s Chelsea locations, and worth a visit, is an exhibition of some of Andy Warhol’s polaroid portraits.

Matvey Levenstein, Pink Moon, 2018

Susan Inglett Gallery is showing Slim… you don’t got the juice, an exhibition of work by Wilmer Wilson IV. His work with staples may seem familiar from its inclusion in the New Museum’s 2018 Triennial: Songs for Sabotage.

From the press release-

Slim… you don’t got the juice presents multidisciplinary departures from familiar modes of figurative representation, as they have evolved in the realm of photographic discourse. Wilmer Wilson IV has developed strategies of redaction and annotation in his work that begin to destabilize the norms of making and viewing portraiture through visual, material, and technical manipulation. An exploration into the complex renderings of individual subject-hood versus object-hood in portraiture, the artist has conceived of a stapled-surface-as-viewing-device that mediates image with material. The device is manifest in a series of staple works that almost fully shroud the photographic subjects beneath dense fields of metal fasteners. The austere, randomized application of the staples onto the surface of each portrait results in a resistance of visual penetration from many angles, complicating access to the underlying figures and deconstructing the voyeuristic inclinations of the viewer.

This exhibition closes 3/16/19.

Wilmer Wilson IV, Host, 2018

 

At Lehmann Maupin’s 24th Street location is McArthur Binion, Hand:Work, an exhibition of the artist’s grid paintings created with oil paint stick and paper on board. The patterns created in the work are overwhelming at first glance but then when seen up close, the personal details add a new dimension to the paintings.

From the press release

…For Binion, his personal documents represent the sum total of one’s social life: relationships, citizenship, vocation, and family life. The revealing and obscuring of these aspects of his life also addresses the larger sociopolitical reality of African-American identity—often obscured or erased from common knowledge, yet always present in tandem with major movements in American culture. In his newest Hand:Work paintings, Binion takes an introspective approach that is more closely aligned with the artist’s own self-perception—effectively, his first self-portraits. Using copies of a photo of the home where he was born, along with a photograph of his hand as the ground layer of the paintings, Binion pares down his identity to its most essential elements. These images are tiled in repeated succession, layered under his repetitious line work in oil stick. These gestures themselves relate to memories Binion has of his early childhood farm life, a disciplined approach to the cyclical, sustained effort he maintains in his work today. Through the insertion of his hand, literally in the photographs, and figuratively in his intricate, overlapping mark-making, the artist relates to his earliest introduction to artistry in his mother’s quilting, a tradition he modified and carried into his practice.

This exhibition closes 3/2/19.

McArthur Binion at Lehmann Maupin

McArthur Binion at Lehmann Maupin, detail of above painting

Robert Mann Gallery is showing the newly discovered work of photographer Ed Sievers. The exhibition of black and white photos also includes his later work from the 1970s in Venice Beach. The gallery also has an exhibition of Michael Kenna’s series of black and white female nudes made in Japan (not shown). Both shows close 3/2/19.

Ed Sievers, Untitled (woman in the shadows), c. 1960s, courtesy of the artist, image via Robert Mann Gallery

Damn! The Defiant, a group show curated by Damon Brandt and Andrew Freiser at Fredericks & Freiser Gallery, brings together “images of rebellion and dissent in contemporary portraiture” and includes a wide variety of work in different mediums from an incredible selection of artists that includes Mary Ellen Mark, Gordon Parks, Dana Schutz, Bruce Davidson, Whitfield Lovell and many more. It’s a show that’s very appropriate for a time period that is going to require more and more defiance.

From the press release-

Nothing creates projected personal territory more than the emotional push back generated from the recalcitrant expression of a defiant subject. Yet ironically, it is the very nature of this engagement that makes it difficult for the viewer to quickly detach or withdraw from what in fact amounts to an extended glare or moment of social tension. In a time of undeniable anxiety, finding both the common and contrasting ground in the portrayal of defiance speaks directly to the angst and pre-occupation for self-determination that has been and continues to be a pervasive human concern.

This exhibition closes 3/2/19.

 

Installation view of Damn! The Defiant, image via Fredericks & Freiser

 

Feb 162019
 

Currently at Mitchell-Innes & Nash is Masses & Mainstream, an exhibition of Karl Haendel’s incredibly detailed drawings and his musings on life in current day America. The drawings can be humorous at times, including a comparison of himself to Jared Kushner through a checklist, and a record of his types of sneezes. They are balanced by others, where he expresses his anxiety when it comes to selling art, or a smaller piece that lists “wishful thinking” items that includes healthcare, education, housing, and equity for all.

From the press release-

While Karl Haendel’s newest work covers a wide range of subject matter from a stack of lawnmowers to a portrait of Barbara Walters, the common thread that links these disparate images is a dialogue between memory, both personal and collective, and national identity. Many of the works on view are drawn from overlooked sources in contemporary American life—cultural leftovers the artist combs through and resuscitates in order to represent an alternate picture of American reality. Other works, like the aforementioned stack of lawnmowers, come from the artist’s personal history and experiences—a once-submerged detail from his childhood home that has floated to the surface of recollection—that could also be read, more symbolically, as the paraphernalia of American comfort, excess and, perhaps even, of the endangered middle class.

This exhibition closes 2/16/19.

Feb 162019
 

This month there are a lot of excellent exhibitions on view in Chelsea.

At David Zwirner is God Made My Face: A Collective Portrait of James Baldwin, a group show curated by writer Hilton Als. The works are varied and include portraits by Richard Avedon (shown above), a friend of Baldwin’s who also attended De Witt Clinton High School with him, as well work by Njideka Akunyili Crosby (seen below), Kara Walker, James Welling, Beuford Delaney, Glenn Ligon and many more.

Nyado: The Thing Around Her Neck, 2011 by Njideka Akunyili Crosby

At Marianne Boesky Gallery is Pure, Very, New, Paul Stephen Benjamin’s first solo exhibition in New York. The exhibition includes paintings, photographs, sculpture, and single and multi-channel video installations, as well as a new site-specific black light installation in the internal passageway between the two spaces.

From the press release

Benjamin’s practice is rooted in a vigorous meditation on blackness, considering: “What is the color black?” “What does black sound like?” “Is it an adjective, a verb, an essence, or all of these components mixed to create a nuanced whole?” For his large-scale monochromatic paintings, Benjamin thickly coats the canvas in varying shades of black, producing a sensation of boundless depth. This is further accentuated by Benjamin’s application of the particular tonality’s name within the field of color—the words appearing to float and dissipate within the richness of the paint itself. The development of these paintings followed an ordinary visit to a hardware store, where Benjamin was confronted with the many permutations of commercial black paint. Shades of black came with emotive titles like “Totally Black,” “New Black,” and “Pure Black,” among numerous others. For Benjamin, this sparked a multi-layered investigation of the color and whether it could be distilled or understood differently within the context of a painting or the color itself.

 … Benjamin’s practice also extends into a conceptual investigation of sound, and how “black” can be conveyed and experienced aurally. In these works, he often uses single and multi-channel video installations to loop portions of particular historic and cultural footage to isolate fragments of collective memories or internalized narratives. With Black is the Color (2015), which will be included in the exhibition, Benjamin arranges a towering cluster of antiquated televisions, forming a glowing grid that endlessly repeats a segment of Nina Simone’s 1959 performance of “Black is the Color of My True Love’s Hair.” Here, Benjamin appropriates only the words “Black is the Color,” creating an abstraction of the song that reveals the contradictions and parallels between the notion of black being the color and it being a color. Moving fluidly from sound installation to painting to photography and sculpture, Benjamin’s practice is driven by the idea that blackness, whether explored as a matter of conceptual inquiry or identity, cannot be captured in a single action, emotion, or language.

Black Is The Color 2015 by Paul Stephen Benjamin

At Yancey Richardson is Blue Sweep, an exhibition of Andrew Moore’s beautiful photographs, taken in Alabama and Mississippi over the course of three years.

Carmen, Saunders Hall, AL 2015 by Andrew Moore

At Bryce Wolkowitz Gallery is Oliver Jeffers’ charming painting exhibition For All We Know. If his work looks familiar it may be because Jeffers is also the author of several critically acclaimed picture books.

From the press release

This series of paintings illuminate a dream-like nocturnal world populated by astronauts, deep-sea divers, sinking ships, floating pianos, and burning matches. Omnipresent throughout are the night sky and the ocean – the two great and unknown frontiers – glittered with the imaginary lines that create constellations, serving in this case as a mysterious key to unlock our world.

Expanding on years of observation, from the history of his upbringing in Belfast, to contemporary New York City, Jeffers’ evokes the precarious state of our home and its inhabitants. Inspired by Buckminster Fuller’s seminal book Operating Manual for Spaceship Earth, he presents pianos as dubious flotation devices and our planet presented as a cumbersome motor vehicle, overheating as we argue over what to play on the radio. From researching astronaut’s descriptions of looking at Earth from the distance of the Moon, Jeffers noticed certain recognizable patterns to the way in which he discussed the politics of his hometown from a vantage point of across the Atlantic Ocean. In finding that few people outside of Northern Ireland knew or cared of the intricate conflict there, a great waste of time was revealed: a divided population identical to each other in every way save for the flags they flew and the stories they told. Tragically, each side’s identity are still firmly rooted to the existence of the other, and therefore locked into a spiral of repeated patterns.

 

At both of Jack Shainman’s locations are a series of impressive paintings by Lynette Yiadom-Boakye.

Black Allegiance to the Cunning, 2018 by Lynette Yiadom-Boakye

 

For a new kind of exhibition experience, Asad Raza has organized the group show Life to Come, at Metro Pictures which “brings together works that meditate on the creation of new worlds and new models for living.” There are no labels or listings for the works included in the show. Instead there is a guided tour by hosts who take you around the various works to help you draw connections between the objects. Adding to the uniqueness of the experience, at one point the host pauses while talking and partially in motion, recreating a work by artist Tino Sehgal, and at another they show you that they have changed their eye color, a work by Rirkrit Tiravanija.

From the press release

Experiencing these works together incites intellectual, physical, and spiritual understandings of what it means to make an entirely new world, one in which reality is made from fiction. Raza asserts that “by re-immersing ourselves in the strangeness and fecundity of attempts to create worlds that have gone before, our imagination of a world beyond the present may be renewed.” The uncertainty about what new paradigm awaits us is unsettling in the wake of the modernist 20th century, but it links us to previous generations who experienced radical reinventions of biological and social life.

Philippe Parreno, La pierre qui parle (The Speaking Stone), 2018.

 

Selection of work by Camille Henrot (floral arrangements inspired by books)

All of these exhibitions close 2/16/19.

 

 

May 282018
 

William Eggleston, Tennesee (image via Metropolitan Museum of Art)

There are two great photography exhibitions happening in New York. William Eggleston’s Los Alamos, at The Metropolitan Museum of Art is comprised of seventy-five of his dye transfer prints from color negatives made between 1965 and 1974. The color in these images is incredible as is his ability to evoke feeling from work that is deceptive in its simplicity.  Enhancing the exhibition are a series of quotes from the artist located on various walls, which offer a glimpse into his process and philosophy.

 

The Museum of Modern Art’s Stephen Shore exhibition includes work from his entire career- his start as a teenager meeting with Edward Steichen, time spent with Andy Warhol at The Factory, his large format images from around America, and finally his work in Israel and his current Instagram.  The body of work is impressive and where Eggleston’s work feels like it’s creating a dreamworld from the mundane, Shore’s work seems to present things as they are in true documentary form. Pictures of meals and hotel rooms force the viewer to look at things they usually take for granted in a new way. Not to say that there aren’t images like the large format work, that present an idealistic beauty. Also included, and especially charming, are his stereographs- presented at a small table the images become three dimensional as you peer through the viewer.

 

Stephen Shore, Amarillo, Texas, July 1972 (1972) Image courtesy 303 Gallery

 

Stephen Shore, Merced River, Yosemite National Park, California, August 13, 1979 1979. image courtesy of The Museum of Modern Art

Both of these exhibitions close 5/28/18.

Mar 112018
 

Cyprien Gaillard, Nightlife (Images above via Gladstone gallery)

At Gladstone Gallery, Cyprien Gaillard’s 3-D film Nightlife is a wonderfully immersive experience. Starting with Rodin’s The Thinker at the Cleveland Museum of Art, the film then moves to a series of plants and trees moving in slow motion in Los Angeles, followed by the annual Pyronale fireworks at the Olympiastadion in Berlin, and finally a return to Cleveland, where a helicopter lights up the site where Jesse Owens’ Olympic oak is planted. While the film plays, a dub song reverberates throughout the room on a loop, adding to the dreamlike atmosphere.

This exhibition closes 4/14/18.

Oliver Laric, Year of the Dog (Image via Metro Pictures)

At Metro Pictures is Oliver Laric’s two part exhibition, Year of the Dog. The video animation, the stronger part of the show, takes place in the main gallery.

From the press release

The animation continues his inquiry into concepts of metamorphosis, encompassing concerns about time and the complex dynamic between human and nonhuman lifeforms. Against a white background, linear animations of fish, fungi, and other figures move and change shape. The lines composing the animations continually extend or contract to zoom in on greater and greater detail, magnifying a sense of time as the images change. While the shapes and figures, as in his previous video works, are drawn from cartoons and Japanese anime, Laric’s subject matter has grown to also include animations based on live footage. He constructed the animation via an exacting technique in which each line moves continually between sequences—in contrast with traditional techniques in which each sequence consists of a series of redrawn frames. As the shapes perpetually transform, an atmospheric soundtrack commissioned from musician Ville Haimala establishes the sense of an unfolding narrative.

In the back gallery are three resin sculptures of a human dog hybrid holding a smaller dog in its arms, titled Hundemensch. Each sculpture is from the same mold but differs in opacity and color.

This exhibition closes 4/14/18.

 

Desiree Dolron, Complex Systems (2017)- Image via GRIMM

Finally if you are on the Lower East Side, near the ICP Museum and the New Museum is GRIMM gallery, which is currently showing Desiree Dolron’s video, Complex Systems (2017). Her digital illustrations of the movements of starlings are made more intense by the unnatural patterns she includes, and the sounds that accompany the piece.

From the press release

Complex Systems displays a digitally drawn flock of starlings, scattering throughout the sky in a loop of ever-changing patterns. In this work themes such as the fragility of existence, impermanence and the dichotomy between the individual and the collective form the conceptual ground of her inquiry. The title of the film is adopted from the scientific field of network research, which employs the term to define the complex interactions between different components of the same group.

The shapes assumed by the birds are proven to be the result of a defense mechanism system: in order to avoid attack by predators, a singular starling keeps track of seven others simultaneously – in doing so, the starling is able to adapt to the changing flying directions of the entire flock, thus keeping the collective intact. The dichotomy between the individual and the collective is at the core of Dolron’s interest in this natural phenomenon. Complex Systems investigates the relation between singular and shared intelligence, prompting questions concerning humanity, the psyche and the possible presence of a collective unconscious.

The link to the human psyche is emphasized by the cyclical character of the film; Dolron underlines the full turn of life in which the starlings function as a metaphor. Their movements change from an initial drive to a final, slow fall, while the murmuration happens in an eternal loop that symbolizes the cycle of life and its fragility. The movements of the starlings, combined with the pivotal soundtrack of murmuring voices that intensify and fade according to the flock’s movements, allude to the human mind in a state of constant flux.

Jan 092018
 

Cloud Maintenance, 2017

The Ties That Bind, 2017

Currently at Metro Pictures, Jim Shaw’s current mixed media exhibition is full of works that are interesting, engaging and fun.

From the press release

Rendered in exquisite detail, Shaw’s virtuosic work combines his analysis of the political, social and spiritual histories of the United States with contemplative reflections of his own psyche. For more than three decades he has examined art history, comic books, subcultural undergrounds and consumer products—to name only a few of his wide-ranging fields of interest—to articulate a distinct visual language that charts the country’s ever-shifting sociopolitical landscape.

The paintings in this exhibition incorporate symbols and characters of the past to comment on our fraught present. Using imagery drawn from Old Testament stories, pagan myths and satirical cartoons, Shaw relies on his encyclopedic knowledge to visualize our common vernacular. His layered symbology reads like an exaggerated mirror of our hyper-mediated, “post-truth” reality.

This show closes 1/9/18.

At Pace Gallery’s 25th Street location is Elizabeth Murray: Painting in The ’80s, a collection of sixteen unique colorful canvases the artist created during this period.

From the press release-

Elizabeth Murray: Painting in the ‘80s presents formal and narrative content that continues to influence the techniques and subject matter of contemporary painting. Murray arrived in New York in 1967 during the heyday of Minimalism and the rise of Conceptualism, and amid prevailing assertions of painting’s demise. As she recollected, “The mood was that painting was out, that hip people, people who were avant, weren’t involved in painting. That was unnerving, but then I didn’t give a damn.” Fully committed to painting, Murray broke new ground depicting personal, poetic and at times feminist narratives on complex multidimensional shaped canvases. Murray’s compositions from the 1980s suggest large-scale breaking cups, tumbling wineglasses, tilting tables, windows, rooms, attenuated human forms, letters, symbols and abstract shapes constructed through positive and negative, real and imagined space. As Roberta Smith has written, “She has put the vocabulary of twentieth-century abstraction to new and different uses, tracing in irresistible formal terms a psychological narrative that is not explicitly feminine but that women, thanks to society’s relentless conditioning, know best and most completely.”

This show closes 1/13/18.

For Jorge Pardo’s first painting show at Petzel Gallery, he combines his painted self portraits with a sculptural element. Candid snapshots of the artist are “blown-up, engraved, laser-cut, hand-painted and back-lit with LEDs, to produce, in some cases, vast ornamental objects”. The beautiful large works have the added effect of changing slightly depending on where you stand in the gallery as the light shines through the wood.

This show closes 1/13/18.