This painting, Dream Spiral Kitten, 2022, by Haley Josephs was part of the 2023 group exhibition Oh, What a World at Jack Barrett gallery in NYC.
Tonight is the closing reception for Awakening at Chris White Gallery in Wilmington, Delaware, curated by Seth Pala of Alone Time. The exhibition included 27 artists and 141 pieces of art.
Below is a list of the artists from the gallery’s website-
- Jess Slavic @soreeyesdesign
- Yarissa Luna – @yarissa
- Erin Silva – @eyebawl_
- Will Ramirez @willramirez.us
- Andrew Larason @ailarason
- Jeremy Boyd @sp1it
- MikeBecker @mikebecker14
- Seth Pala @sethpala
- Jani Duerr @janiduerr
- Samara Weaver @samaracweaver
- Andy Vible @Fatfingers;
- Chloe McEldowney @Chloemceldowne
- Cassie O’Neal DeBord @cassietattoos
- Caitlin Herrschaft @tangledmesspress
- Sean Flynn @seanflynnart
- SHAN-Z @shannonzembriski
- Claire Ciccarone @agardenofsorts
- Finley’s Flowers @finleys_flowers
- Cony Madariaga @cony.madariaga
- CHEZ @hey_chez
- Roderick Hidalgo @r.hidalgoart
- Matty Geez @anordinarydaze
- JaQuanne LeRoy @jaquanne.leroy
- Shonté Young Williams @shonteyoungwilliams
- Ellen Salvatore @ellensalv
- David A. Celli @obeseocelot
- Shannon Zembriski @shannonzembriski
This event is part of Wilmington’s First Friday Art Loop, an event highlighting the city’s arts and cultural scene.
The painting above is Norman Rockwell’s The Fiddler, 1921, currently on view at Brandywine Museum of Art in Pennsylvania.
From the museum about the work-
Best known for the paintings he did as cover illustrations for The Saturday Evening Post, Rockwell also did extensive work for other major publications. “The Fiddler” appeared as a cover for The Country Gentleman in October 1921, still relatively early in his career. Rockwell celebrates autumn and Halloween, represented by both the grinning jack-o-lantern and the corn cob and autumn leaf garland. He skillfully mimics the effect of stage lighting in this painting, highlighting the musician’s expression and hands, creating an illusion of three-dimensionality.
Against Dystopia, the group exhibition at Diane Rosenstein curated by niko w. okuro, presents a variety of interesting work that speaks to the times we are living in.
The exhibition includes ten international artists representing twelve cities across the United Kingdom, Jamaica, and all five regions of the United States- Ray Anthony Barrett, Ashanti Chaplin, Phoebe Collings-James, Cara Despain, Andrae Green, Margaret Griffith, Jane Chang Mi, Olivia “LIT LIV” Morgan, Esteban Ramón Pérez, and Adrienne Elise Tarver.
From the gallery-
Presented on the eve of the 2024 presidential election, Against Dystopia is ‘a far-reaching exhibition, both in terms of the diverse backgrounds and approaches of its featured artists, and the social, cultural, and geographic ecosystems those artists represent and critique,’ writes okoro, who is based in New Haven, CT. The exhibition ‘features artworks that inhabit a spectrum of anti-dystopian thought, from mobilizing conceptualism to overcome historic traumas and the precarity of the present, to envisioning future utopias against seemingly insurmountable odds.’
Against Dystopia transforms fear and anxiety surrounding the uncertainty of our shared future into a tangible site of hope—one where collective memory reminds us of our agency to enact change today, and rich cultural traditions empower us to imagine alternative futures. Of significance is the inclusion of artists who identify as multi hyphenates, playing numerous social roles within their communities, such as advocate, change agent, chef, documentarian, educator, father, filmmaker, mother, musician, oceanographer, researcher, and too many more to name.
Artworks are grouped into three thematic sections, each of which explores creative strategies of resistance and works against dystopia at all costs: field research, symbolic interactionism, and speculative fiction.
Ray Anthony Barrett (Missouri), Ashanti Chaplin (Oklahoma), Cara Despain (Utah/Florida), and Jane Chang Mi (Hawai‘i/California) use field research to map histories of frontierism, settler colonialism, and land politics onto ecological and socioeconomic systems today. With a focus on listening to the land and sea to both unearth and atone for difficult truths, these artists name and dismantle dystopian practices on the path to reconciliation. Embracing an appreciation for both hyperlocal traditions and the tenets of global citizenship, each underscores our shared duty to ensuring ecocultural sustainability and Earth’s habitability for future generations.
While Margaret Griffith (California), Olivia Morgan (New York), and Adrienne Elise Tarver (New York) work through markedly different mediums and styles, they share a fearlessness in addressing ongoing tensions and questions surfaced amidst the political firestorm of 2020. Embracing tenets of symbolic interactionism, or the theory that individuals shape and are shaped by society through daily interactions and the co-creation of meaning from symbols, these artists remind us of the power of human connection to bridge difference. Each steers towards social cohesion by processing collective grief and the enduring impacts of the 2020 presidential election, the proliferation of the COVID-19 pandemic, and the resurgence of the Black Lives Matter Movement respectively. Whereas Morgan and Griffith subvert symbols that often polarize rather than unite us within physical space—such as fences, face masks, and smartphones—Tarver reaches into the past to pull forth reimagined symbols that speak to our spiritual interdependence.
Phoebe Colling-James (United Kingdom), Andrae Green (Massachusetts/Jamaica) and Esteban Ramón Pérez (California) boldly envision alternative realities by using speculative fiction and symbolic allegory to sew threads of connection across time and space. Each resists linearity and subverts narrative tropes to instead materialize the fluid spiritual dimensions of lived experience. Through their layered ceramics, paintings, and sculptures, these artists mine the depths of their respective Jamaican/British, Jamaican/American, and Chicanx heritages to comment more broadly on social conditions today, prompting us to dream beyond what’s readily visible or knowable.
Against Dystopia opens concurrently with The Getty’s Pacific Standard Time: Art x Science x LA, which similarly explores, “opportunities for civic dialogue around some of the most urgent problems of our time by exploring past and present connections between art and science.” By convening an international group of visionary artists to help initiate these dialogues, Against Dystopia prompts viewers to pursue deeper understanding of shared challenges and solutions, on both the micro and macro levels.’
This exhibition closes 11/2/24.
Currently at Lisson Gallery is Shirazeh Houshiary: The Sound of One Hand, an exhibition of the artist’s new and recent work. For the paintings she combined distinct color formations with intricate patterns drawn on the surface using pencil. The details are astounding when seen up close.
From the press release-
For her first solo show in Los Angeles for over a decade, the British artist Shirazeh Houshiary presents new and recent works, exploring the origins of life and the mysteries of the cosmos, from a microscopic cellular level, to the stratospheric phenomenon of the aurora borealis. The show’s title relates to a Zen Buddhist teaching that instructs the student to listen to the sound of one hand clapping, in order to open their mind to such a possibility and transcend the constraints of the physical body. Despite not being a Zen practitioner, Houshiary realised that her work revolves around the insistent sound made by one of her hands, making tiny, looping, scratched marks in pencil onto large aluminum surfaces, building up worlds through the silence of her inscribed words.
Houshiary’s abstract paintings emerge from an initial pour of liquid color that floods the surface in irregular pools, before she then covers these areas with her own calligraphic gestures in graphite, which are in fact tiny repetitions of the Arabic phrases: “I am” and “I am not”, which she also likens to the natural act of inhaling and exhaling. For one of the two largest works in the show, entitled Enchanter (2024), Houshiary applies red pigment and pencil to a black ground in five ring shapes, recalling structures of carbon particles linked in a chain. Matching this in scale but cooler in tone, is the painting Earth Lament (2023), with two silhouetted blue figures that somehow materialized from the sedimented pigment, one appearing to soar and the other seemingly being dragged down. This accidental figuration also occurs in the work Cicada (2023), which could just as easily be a depiction of the wings of this insect as it could be a representation of its rhythmic song. At the other end of the scale are the galactic indigo swirls of So Far So Near (2024) and the bands of ethereal light crisscrossing the work titled Aurora (2023), recalling those seen occasionally streaking across a night sky.
Occupying the floor is a sculptural installation in nine parts, made from an open latticework of aluminum bricks in blue and green hues, each with the same footprint, but all at different heights, growing at increments of one layer at a time (the shortest has five layers, the highest thirteen). Entitled Maelstrom (2022), these curved forms, both hard and supple at the same time, recall not only the molecular structures of the red painting Enchanter, or “that primeval storm within the spiral of creation where something grows,” as the artist puts it, but also the shape of the ouroboros snake eating its own tail.
A second sculpture, seemingly another form defying logic and gravity, bursts from the wall. Its two sinuous, entangled lines are the artist’s approximation of the movement of a solitary wave – lending it the name Soliton (2024) – which is a type of swelling or surging motion that is not dependent on previous pulses, or followed by other waves. From such unfathomable objects, to minute molecules and gigantic expanses of space, Houshiary’s artworks represent a journey through everything from the chaos and messiness of the Big Bang to the silent contemplation of the resulting energies that surround every one of us.
This exhibition closes 11/2/24.
Austin Lee’s uses a combination of technology and traditional artistic techniques to create work in a variety of mediums for Psychomachia, his latest exhibition at Jeffrey Deitch. The saturated colors in his paintings (and the blue of the center sculpture) make them eye catching, while his subject matter creates, at times, a feeling of unease.
From the gallery-
Austin Lee knows how to render human emotion. Through a unique process that has defined his career, Lee explores human psychology and emotions by integrating software technologies with traditional methods of artmaking to produce vibrant paintings, sculptures and video works. Psychomachia marks Lee’s first solo exhibition in Los Angeles in eight years and third exhibition with Jeffrey Deitch.
Lee’s work explores the hyperreality of social media and the internet, and, in this exhibition, he continues to explore the complexity of human connection that can be refracted through our digital age. He uses 3-D and virtual reality software to make drawings that are then painted on canvases with airbrush or fabricated in materials like resin and bronze. Lee turns inward and examines his own raw emotions through saturated hues and uncanny images.
The exhibition also draws inspiration from a transformative visit Lee made to the Giotto Chapel in Padua, Italy, where he was inspired by painted scenes from the 14th-century poem Psychomachia by Prudentius. The poem, which depicts the allegorical battle between virtues and vices for control over the human soul, served as an important source for several paintings in the exhibition. Some paintings show imagery that is directly pulled from the Chapel’s walls, while other paintings are quiet references to familiar symbols, like animals and families. Lion with Blue Eyes (2024), for example, conjures feelings of valiance and strength, whereas In Bed (2024) invites visitors to participate in a more unsettling sensation–– the feeling of being vulnerable or being under surveillance.
Central to the exhibition space is Blue Fountain (2022-2024), Lee’s fountain sculpture that was previously exhibited in his solo museum exhibition at the Lotte Museum of Art in Seoul, South Korea in September 2023.
The mezzanine features a series of new video works that continue to explore surveilled environments and the disquieting feelings in the paintings. The animated figures ogle at the viewer from the same viewpoint as reflected in In Bed. It is common for Lee to build upon previous works, placing them in a rich, multidimensional visual world through rendering them in different media.
This exhibition is on view until 10/26/24.
Aliza Nisenbaum’s paintings for Altanera, Preciosa y Orgullosa, her current exhibition at Regen Projects, fill the gallery with colorful portraits depicting dancers from dance troupes and studios local to Southern California- including Teresita de Jesús of Studio 10, Folklorico Revolución, Mariachi Tierra Mia, and Amelia Muñoz Dancers.
From the press release-
An early, leading figure in the centrality of representation and portraiture in the preceding decade, Nisenbaum develops vibrant, figurative paintings through a form of participatory observation. She forges relationships with her subjects and connects meaningfully to the complex communities they create together. Informed by a diverse array of artistic and political traditions, Nisenbaum’s pictures (and the process through which they are made) recall forebears such as Alice Neel, Sylvia Sleigh, and Diego Rivera.
From mariachi to salsa, the works give painterly shape to the fleeting festivity of these traditions. Exploring connections between sight and sound, they evoke music and movement in an otherwise static, silent medium by way of color, contour, and pattern. As such, they recall modernist experiments and visionaries such as Sonia Delaunay and Florine Stettheimer. Mindful of the ever-intensifying specter of technology that shapes our daily lives and recalling sociologist Émile Durkheim’s theory of “collective effervescence,” Nisenbaum’s paintings celebrate these spaces and occasions for dancing as consecrated moments apart from our screens and devices, reminding us of the pleasure of being more fully of and with our bodies and each other.
The exhibition’s title, Altanera, Preciosa y Orgullosa, draws from “La Bikina,” an iconic Mexican ballad, and describes the song’s namesake subject, a “haughty, gorgeous and proud” woman. As such, it alludes to the sounds and sentiments that might accompany the dancers and musicians pictured throughout Nisenbaum’s paintings, as well as her overarching interest in depictions of female power, independence, and self-assuredness. These themes recur in La Bruja, a painting of dancers learning to carry lit candles safely atop their heads as they dance to lyrics that describe a witch, or “bruja,” at work in the middle of the night. For Nisenbaum, La Bruja, like “La Bikina,” evokes a powerful mythology of strong women, informed by their own agency and control as they move through the world.
Poised and focused, Shine Arm Styling, on 1, introduces us to a duo especially attentive to the most decisive details. Likewise, Nisenbaum’s paintings orchestrate a carefully calibrated concert of humming patterns and colors, from the rhyming latticework of tights to the gauzy curtains that drape and cocoon the rooms, the lacey fretwork of leotards and costumes, and the pronounced grain of the wooden floors. Animating and unbridled patterning recurs across the canvases, a painterly translation of the energy of the dancers and the spirit of their music. Just as the women tap more and more frenetically in La Bruja—building and accelerating—the pattern that frames them expands through and beyond the figures, likening the sonic experience to this visual effect, as well as the pace of paint handling that produces it.
Similarly, as dancers slide and screech to a halt, the undulating motion of the wooden floors mirrors the movement of the figures via painterly gesture. Rehearsal mirrors and elevated bars occasion playful angles, geometries, and juxtapositions, expanding and suturing spaces and passages. They punctuate, frame, divide, and at times provocatively double or even triple figures and forms, creating and implying pictures within pictures. Such reflections liken Nisenbaum’s activity as a painter to that of the whirling dancers. Her complex tableaux reveal her deep awareness and clear delight in the possibilities of painting to narrate human experience and the relationships that sustain us.
This exhibition closes 10/26/24.
Lita Albuquerque’s exhibition of new work for Earth Skin, on view at Michael Kohn Gallery, includes several dramatic blue paintings and a huge installation piece on the floor of the gallery that grabs your attention the moment you enter the gallery.
From the gallery-
Beginning her career in the 1970s with works that intimately connected her to the earth, Albuquerque’s artistic evolution envelops the cosmos and the space between it and us. Her work emanates from years of practicing the exact science of Kundalini breath technique as well as automatic writing; both drive a deep investigation and scientific inquiry of who we are as individual beings on this planet. Albuquerque further connects to the exactness of physics by a meditation she, and astronomers, call the cosmic address. These daily practices are at the root of her art, precisely positioning self to cosmos. It is those discoveries she embeds in works of art that permit us, the viewer, to experience the connections she has made between these internal and external worlds.
Thinking about the exhibition, Albuquerque writes:
Feet dancing above the earth, dancing with fervor, drumming, the increasing drumming of the feet not fragile on the fragile earth.
The wisps of bodies, like skins falling off their frames leaving the planet, the planet strong and our forms ethereal, the strength of us, our feet, on the fragile earth, the wispy lightness of us, detached from the earth, transforming into space.
The earth strong behind us, propelling us upward, giving us her strength, throwing us in the air, while we fly, never falling, the fierce intensity of our rhythm while alive, and the freedom of release from the earth.
Experiments of intensities of emotions and colors, whirling dervishes’ cyclones, Earth Skin is whispered, “Earth Skin” she whispered.
For PST’s Art and Science Collide, Albuquerque transforms the gallery with a titular installation, Earth Skin. A membrane of decomposed granite fills the space creating the illusory sensation of the earth being revealed below the gallery, as if the concrete floor has been meticulously removed. Accompanying this installation is a new series of paintings revolving around the gestures of the body and ancient marks, like a hieroglyphic code only the artist has a key for. With each gesture, Albuquerque embraces the tactile intimacy of painting, reminding us of the power of capturing and transforming the elusive into the material. This installation invites viewers to explore the shared fragility of humanity and earth.
Two of the paintings, picutred below, include poems referencing fellow artist Ana Mendieta, who was known in part for her “earth-body” work and who passed away tragically in 1985.
This exhibition is part of The Getty’s Pacific Standard Time: Art and Science Collide an arts event taking place in various venues around Southern California.
For more information on Lita Albuquerque and her work Red Canary Magazine recently published an excellent article that is worth a read as well.
A. Savage- Elvis in the Army
This song is from artist and musician A. Savage’s (of Parquet Courts) 2023 album, Several Songs About Fire.
He is playing this week at Zebulon in Los Angeles on Wednesday 10/16 and Thursday 10/17/24.
Above is artist Larry Gray’s oil painting Anywhere Before, taken when it was on view at The Haen Gallery in Asheville, North Carolina in 2021.