NYC Art Shows- Amy Bennett at Miles McEnery Gallery

 Art, Art Shows by Location, Artists, New York Art Shows, Painting / Painters
Jul 022024
 

Amy Bennett’s small paintings for Shelter at Miles McEnery Gallery seem peaceful at first but become more disquieting as you progress through the gallery.

From the press release-

Small in scale but dense in narrative, the paintings in Shelter function akin to a short story. Each oil on panel encapsulates a snapshot still of a moment, prompting the viewer to draw upon one’s own lived experience to flesh out the lead up and its aftermath. Teetering between subjective realities and familiar memories, Bennett mitigates serene compositions with the unsettling: a sunbather lounges under the moon, a sleepwalker drifts through the home, a family gathers for breakfast in a flooded kitchenette.

Rather than painting from memory or photographs, Bennett begins her process by building miniature models. Vignettes of sprawling nature preserves and domestic interiors set the scene for figurines dressed in custom tinfoil garments frozen in place. Elizabeth Buhe writes, “Bennett’s works are not just technically brilliant repositories of painted form; they are texts that query the circulation and sedimentation of images, or perhaps memories, and how these come to snap us.”

This exhibition closes 7/3/24.

NYC Art Shows- Isca Greenfield-Sanders at Miles McEnery

 Art, Art Shows by Location, Artists, New York Art Shows, Painting / Painters
Jul 022024
 

Isca Greenfield-Sanders’ beautiful paintings, currently on view at Miles McEnery Gallery were created using vintage slides she found at flea markets and estate sales.

From the gallery-

In her fourth exhibition with the gallery, Greenfield-Sanders invites viewers through blooming meadows, sprawling beaches, and grassy slopes in quiet introspection. Her palette strays from the representational, rendering her landscapes in soft pinks, hazy blues, and mossy greens. The paintings exude a sense of familiar serenity suspended in time, each bathed in a mesmerizing dance of light and emotion. “Her work wheels through time, seasons, and weather, deftly summoning the transparent hues of early morning or the diffused light of an overcast day, the brightness of a summer noon so incandescent that you might think you need to blink while regarding it,” writes Lilly Wei.

Greenfield-Sanders’ idyllically nostalgic paintings find their origin in vintage 35-millimeter slides, sourced from flea markets and estate sales, often capturing family vacations. She sorts through thousands of forgotten memories and moments, selecting the ones that resonate, then co-opting elements from each to establish her compositions. The in-depth process distills initial photographs through collage, printing, drawing, pasting, and then, once perfected, painting.

“Her interest lies in the way photographic mementos shape actual experience that time distorts,” writes Linda Yablonsky, “Memories fade. They conflate. They become a history that is less a record of fact than the stuff of dream.”

This exhibition closes 7/4/24.

NYC Art Shows- Laura Letinsky at Yancey Richardson

 Art, Art Shows by Location, Artists, New York Art Shows, Photographers / Photography
Jul 012024
 

Laura Letinsky’s has created several intriguing photographs for her exhibition, For, And Because Of…, at Yancey Richardson. Her unique assortments of objects- half eaten and smashed fruit, dying or dead flowers, loose papers, ceramic pieces- form works that challenge the idea of the still-life.

From the gallery’s press release-

The work in For, and because of… was made mostly during Letinsky’s 2023 residency in the South of France at La Maison Dora Maar, the former home of Maar, the French photographer, painter, and poet, who was also the romantic partner of Picasso. Inspired by the light of Provence in contrast to the dark weather of her home base in Chicago, Letinsky began a series she titled Who Loves the Sun in which she used natural light together with artificial light to provide her images with a radiant glow. Her subjects included borrowed objects such as a ceramic vase and glassware from La Maison that may have belonged to Maar. The detritus left behind from other artists-in-residence, as well as flowers and weeds growing nearby also found their way into her images. Yet, her photographs are not necessarily about what objects appear within them but rather about the medium of photography itself.

Letinsky explains, “I make pictures of very ordinary things in a way that destabilizes and questions the camera’s authority while also indulging in its sexiness, solicitating a visual pleasure that is tethered to other senses.” Letinsky complicates the singular point of view of the camera by building frames within frames and precariously positioning objects in relation to one another. In reference to her innovative picture spaces, Letinsky notes, “Cezanne’s still lifes described objects from multiple perspectives so as to refer to perception being a constantly shifting process. I try to harness this, to articulate that we’ve two eyes and are ambulant living beings.”

Through her work, Letinsky questions what is necessary to make a photograph that is considered “good.” Dissonance and interruption are components of her language in which objects’ perspectival positions are abstracted and gravity is elided. By working with objects associated with the home, she makes images that evoke tenderness and project an uneasy and fragile beauty.

The exhibition title, For, and because of… refers to the incommensurability of things, suggesting that there is not a concrete metric by which to measure or to reckon with life events. Letinsky notes, “So the show, the work, is for, and because of the wars, because you never called me back, for the rain that watered my garden, because the train was late, for my sons, because flowers bloom…”

This exhibition closes 7/3/24.

NYC Art Shows- Stephen Shore at 303 Gallery

 Art, Art Shows by Location, Artists, New York Art Shows, Photographers / Photography
Jul 012024
 

For Stephen Shore’s latest exhibition, Topographies, at 303 Gallery, he has created stunning landscapes using a drone. The compositions draw you in and the details keep you transfixed.

From the gallery-

Beginning in 2020, this body of photographs was shot using a drone, resulting in sharply detailed aerial views of rural and suburban landscapes. Topographies builds upon concepts Shore has examined in his large-format landscapes from the 1970’s: pictures which uncover certain qualities intrinsic to the American vista. By employing a far-reaching, elevated perspective, Shore demonstrates how, from altitude, landforms are revealed, and conversely, how the built environment interacts with the land. In viewing these photographs, it becomes apparent that every detail of Shore’s pictures– from edge to edge, whether near or far– is as carefully considered and articulated as the next.

Shore has persistently explored new possibilities within the photographic image. Since his early practice, he has incorporated new formats and technologies, utilizing innovations as a means to achieve his own ends. Shore’s pictures seem straight forward at a glance but surprise with their ability to draw out the subtlest moments, distilling quiet sublimities from unassuming subjects.

This show closes 7/3/24.

NYC Art Shows- Areum Yang at Derek Eller Gallery

 Art, Art Shows by Location, Artists, Mixed Media, New York Art Shows, Painting / Painters
Jun 272024
 

“The Day Before”, 2024, acrylic, oil, fabric collage, oil pastel, pencil on poly cotton

“In Between Dreams”, 2024, acrylic, oil, fabric collage, oil pastel, and pencil on poly cotton

Thoughts on the Table, 2024, oil, acrylic, pencil, oil pastel, paper collage on poly cotton

“Home Made by Home”, 2024, oil, acrylic, pencil, oil pastel, fabric collage on poly cotton

Areum Yang’s mixed media paintings explore the many possible meanings of “home” in Home of Being, her exhibition at Derek Eller Gallery. The use of bold colors and textured details creates images that grab your attention.  Although the works can be a bit chaotic at times, when searching for place to call home, especially while adjusting to unfamiliar cultures, that is often how it feels.

From the press release-

Yang, who was born and raised in Korea and immigrated to New York for art school in 2019, has grappled with a feeling of in-betweenness born out of that experience. Painting has been a vehicle for her to explore what home signifies. Without providing answers, her narrative is vague and ambiguous. Is home merely a roof over one’s head? A place of safety? Where loved ones reside? A repository for meaningful objects? In one painting, a crouching figure perched on a stool is accompanied by a regal dog, conveying the importance of companionship. In another, two figures lying in bed, eyes closed and hair intertwined, are feverishly imagining flocks of birds and a boat rocking on the sea, indicating that home is a place where one dreams. A different painting shows a figure seated at a table drawing, creating, surrounded by domestic objects gathered from past and present. “Home isn’t a fixed destination,” Yang explains, “it’s a dynamic, evolving experience shaped by one’s choices and connections.”

Birds and fish make frequent appearances in Yang’s paintings, depicted both as captives in cages or bowls and flying or swimming freely. They function as metaphors for her own journey of living between different cultures and trying to define her surroundings. In I’m Home, a hunched figure grips the sides of a fishbowl, face eerily pressed against the glass, while the fish has escaped and is splayed out on the tabletop, essentially reversing the dynamic between the observer and the observed. As the narrator of this story, Yang captures the interplay between these two worlds and acts as both the observer and the embodiment of diverse perspectives or characters. From this outlook, she invites viewers to step back and discover home in the richness and range of their own unique experiences.

Yang’s process of combining both wet and dry materials (charcoal, pencil, collage, pastel, acrylic, oil) lends motion to her subjects and captures an emotional state bordering on urgent anxiety. Figures coarsely rendered in pencil or charcoal inhabit vibrant backgrounds imbued with colorful, improvisational mark-making and collage. At moments, the boundaries are blurred, and the subject and atmosphere become one.

This exhibition is on view until 6/29/24.

NYC Art Shows- Marina Kappos at Shrine Gallery

 Art, Art Shows by Location, Artists, New York Art Shows, Painting / Painters
Jun 272024
 

Marina Kappos uses her experience as an identical twin to explore the concept of quantum entanglement for her current exhibition Spooky Action at Shrine Gallery. Her use of color and the preciseness of the work makes the paintings both aesthetically pleasing and impressive.

From the press release-

Spooky action at a distance is an enigmatic term coined by Einstein meant to describe quantum entanglement, or the strange phenomenon when particles, or objects– potentially of any size and at any distance apart, become inexplicably linked together. These bonded entities become responsive to one another as if invisibly tethered in ways scientists do not really understand, and which can no longer be described as independent. The theory is so unusual that Einstein was essentially dismissive of the possibility even while reflecting on it, but the concept has since been documented and confirmed.

Marina Kappos identifies with this phenomena, in part because she has experienced life as an identical twin, separate yet connected. As she describes it, “I have grown up with a mirrored reflection of myself, but one that is also independent and leading a different life than me.” Both Kappos sisters can quickly affirm that being an identical twin leads to a highly unique existence that is difficult for the outside world to understand. Like quantum entanglement, or “spooky action at a distance”, identical twins are intrinsically linked from birth, almost as carbon copies, and many sets routinely claim to experience telepathy or other forms of psionic abilities with their sibling. This duality of nature and sharing an almost exact form with her sister is one of the primary sparks driving Marina Kappos in her new paintings.

Kappos has honed a precision-based process that is truly her own. The paintings generally manifest subconsciously and are obsessively tight. She applies repeating layers of acrylic paint in different hues to form ethereal images and figures that rest slightly offset from their neighboring silhouettes. Reverberating faces and skulls, a new “spooky” motif, repeat in opposing mirror-image or spin together in cycles, all while dancing together in the confined spaces of her canvases; like echoes. The buzzing frequency and optical motion in Kappos’s works reminds us that our notions of what we think of as being concrete, or as existing as separate and distinct objects (even our own bodies) might be more fluid than we realize.

This exhibition closes 6/29/24.

NYC Art Shows- Terry Winters at Matthew Marks Gallery

 Art, Art Shows by Location, Artists, Conceptual Art, New York Art Shows, Painting / Painters
Jun 272024
 

Terry Winters‘ paintings for Point Cloud Pictures at Matthew Marks Gallery reference data collection methods and patterns from the natural world. The colorful and energetic works leave it up to the viewer to make their own associations.

From the gallery’s press release-

Winters’s work centers on abstraction as a catalyst for exploring the natural world. In his paintings, composition and color give new meaning to a wide range of technical references, which include advanced mathematical principles, musical notation, botany, and chemistry. In the artist’s own words: “I’m taking preexisting imagery and respecifying it through the painting process. Information is torqued with the objective of opening a fictive space or lyrical dimension.”

The title of the exhibition refers to the seven Point Cloud paintings on view, in which overlapping grids of ringed particles create complex, amorphous shapes. Borrowed from the field of three-dimensional modeling, a point cloud refers to a set of data points in space, often used to articulate objects or landscapes in digital models. “The forms can also suggest the collective behavior of animals, such as the murmuration of starlings and the schooling of fish,” Winters says. His paintings build an illusionistic sense of ever-expanding depth, as the varying size, shape, and angle of his painted data points lend a dynamism to his canvases. With the utmost attention to pigment, the paintings are built up in layers of oil, wax, and resin, further eliciting the energetic potential of their compositions.

Created through a parallel process, each painting on paper fills a large sheet from edge to edge. To make these works, Winters chose a paper size called a double elephant, which was first developed in 1826 to accommodate J.J. Audubon’s life-size depictions of birds. As Winters has described, “I’m interested in these givens, working within the parameters of that aspect ratio, and how that affects the building of the work.” Together, the works create a space that is both immediate and imaginary, what Winters has called a “vitalized geometry.”

This exhibition closes 6/29/24.

NYC Art Shows- Charles Ray at Matthew Marks Gallery

 Art, Art Shows by Location, Artists, New York Art Shows, Sculptors / Sculpture
Jun 262024
 

The sculptures in the Charles Ray’s exhibition at Matthew Marks Gallery, are impressive in their construction and scale. Having just three in the large open gallery space also allows you to contemplate the works individually and without distraction.

From the gallery about the works-

Everyone takes off their pants at least once a day (2024) is a 9-foot-tall sculpture of a woman dressing. The sculpture is constructed from handmade paper and is based on a full-scale model originally made in clay. Merging the contemporary and the classical, the work builds upon ancient traditions of statuary.

Two dead guys (2023) is carved from three solid blocks of Italian marble, one for each figure and a third for the base. It depicts two naked men, just larger than life-size, laying side by side on a rectangular plinth. In some places the smooth surface of their skin presents an eerie perfection, while others reveal their inherently flawed corporeality. As Ray describes, “the finality of death is a window for the viewer to contemplate the mysteries and the inexplicable nature of our existence. Does the spark of our aliveness, the health of our bodies, come from the same fire today as it did for the ancients?”

8FLU100 (2024) is a twenty-four-inch-long paper sculpture of a crashed car. The title refers to the car’s license plate. To make the sculpture, sheets of Japanese paper have been meticulously cut into hundreds of pieces. Each piece is scored and folded, and then assembled by hand to precisely recreate the vehicle. As Ray has written about his paper sculptures, “The work’s fragility and close to zero weight is emergent from drawings. This sculpture is a drawing but drawn with space and time.”

This exhibition closes 6/29/24.

NYC Art Shows- Eva Struble at Jane Lombard Gallery

 Art, Art Shows by Location, Artists, New York Art Shows, Painting / Painters
Jun 222024
 

Eva Struble has created gorgeous worlds for her exhibition Gravity of Small Things at Jane Lombard Gallery. The paintings shift from abstract to realistic and back again as bits of the natural landscapes emerge.

From the press release-

Through painting and textile, Struble explores the concept of embodiment in the landscape, relating the physical act of making to her multi-sensory and visionary experience of place. Contemplating the symbiotic relationship between humans and nature, the works collectively take into consideration our changing environment.

Struble’s paintings distill her physical experience of nature – the sharp touch of Yucca on her local hikes, the early morning smell of the Chaparral, or the disorientation of floating above seagrass in the ocean. Orchestrating a suite of visual constructs, the artist oscillates between chance and control while experimenting with pigments, media, layering, and collaging. Her work suggests a reflective yet speculative vision teeming with biodiversity and notions of cohabitation between species without interference.

The eponymous painting Gravity of Small Things effortlessly blends hazy nostalgia with honest representation and creative world-building. Sharp and soft edges intermingle in shallow focus as the viewer moves through silhouetted trees and gradient purple obstructions flecked with blue and red confetti-like marks. The landscape is at once familiar and remote, existing outside of conventional constructs of time and space. Recognizable elements break up the variegated ecosystem, playing with our perception to reveal effects similar to sunlight illuminating the changing leaves or the sparkle of reflections dancing on the surface of the water.

Snapshots of landscapes morph into organic forms as Struble reconciles her visual and corporeal memories of nature with her own body’s shapes, twists, and turns. In Malajon, layered washes of vibrant greens, blues, and pinks blend together to create a dynamic composition of varying depths, engaging our collective visual memory to suggest the ethereal entrance to an untouched cave, or perhaps a quiet adventure amidst jungle flora. As deliberate as it is exploratory, the artist’s otherworldly painterly manipulation gradually gives way to lend a semblance of reality to the abstracted composition. Drawing upon the viewer’s own experiences to evoke imaginative reflection, Struble’s works straddle the line between the human and natural worlds, simultaneously pushing and pulling to suggest alternative ways of coexisting.

This exhibition closes 6/22/24.

NYC Art Shows- Jennifer Coates at Chart and High Noon Galleries

 Art, Art Shows by Location, Artists, New York Art Shows, Painting / Painters
Jun 222024
 

Taking place at both High Noon Gallery and Chart Gallery is Jennifer Coates’s exhibition Edge Effects. The paintings are dense with imagery that requires the viewer to take a longer look.

From the press release-

Edge Effects is an ecological term that refers to the sometimes problematic changes in biodiversity where different habitats converge. These transitional zones are called ecotones: animal/vegetable environments in flux, like ditches, forest edges, marshes and grasslands. The ecotone provides a metaphorical through line for Coates’s current paintings, in which micro-climates of imagery collide. Zones of color, marks, and depicted elements aggregate and are collaged together, creating a hybrid sense of place.

Coates uses acrylic and spray paint—synthetic chemicals—to represent the landscape, emphasizing the toxicity that now runs through most organisms. Despite this pervasive chemical presence, her paintings present an ecofeminist belief in the possibility of restoring the self through hyper connection with nature.

At the edges of shapes, halos and heightened optical effects take the viewer in and out of spatial logic. She repeatedly depicts plants that flourish in poor soil, found at edges between cultivation and wildness. These ditch weeds are ubiquitous in rural Pennsylvania where Coates works in the summer. Painting them has become a way to reconcile with invasive plant species. She anchors archetypes such as Diana, Pan, Dionysus, and the Maenads to the woodlands where she has spent much of her life, incorporating local wildlife like common birds and butterflies. The butterflies, for example, pollinate as well as “puddle”—a behavior that extracts minerals from mud, carrion, blood, and sometimes tears, signaling the edge between vitality and rot. In Coates’s paintings they also feed on the remains of Classical sculpture.

Portals appear as entrances to bunkers, caves, ruins, and passage tombs. Rocks are a new pictorial element for Coates that provide a further engagement with the materiality of paint. Structures and imagery are built up and broken down through her painterly process and go in and out of presence, at the edge of sense.

This exhibition closes 6/22/24.

 Older Entries  Newer Entries