May 122023
 

Currently at Marc Straus is Marie Watt’s impressive exhibition, Singing Everything.

From the press release-

A member of the Seneca Nation, Watt also has German-Scott ancestry. Her layered and complex influences include Indigenous knowledge and Iroquois proto-feminism, the matriarchal structures of certain Native American nations, the rise of social activism throughout the 20th century, and the anti-war and anti-hate content of the 1960s and 1970s music scene.

Central to the exhibition are three Sewing Circle pieces that were initiated at communal gatherings at the Whitney Museum of American Art in 2022. Watt’s sewing circles are cross generational, multicultural gatherings that she has been organizing for over a decade. Inspired by poet laurate Joy Harjo’s (Mvskoke/Creek) poem Singing Everything, Watt collects words from the participants of her sewing circles with the prompt, “what do you want to sing a song for in this moment?” The submitted words are then embroidered or sewn onto patches of fabric during the sewing circle. For the Whitney Sewing Circle, with over 300 participants, Watt, for the first time, used all the submitted words. Each panel is patterned in a way that stays true to the original hand. She thinks of ones handwriting as an extension of the cadence of one’s voice and in this project, it becomes part of a larger chorus. By composing large-scale wall works from these pieces of fabric, Watt creates collaborative artworks that interweave many individual handwritings, touches, and the stories that were exchanged in a shared space.

When entering the gallery, the visitor is greeted by a sweeping, 24-foot-long neon sign spelling out the words “deer, skywalker, heron, bass, great lake, woodland, beaver, turtle, wolf, lowly, muskrat, rat” in various hues that evoke the sky on the horizon during sunset and sunrise. While the piece represents a new direction in Watt’s work, she views neon as an extension of beadwork. The glass itself is at once thread and bead, and both neon and beads have a relationship to trade. They both envelop light, color, and sound, embodying sunrises and sunsets on the horizon.

Two blanket towers, her signature sculptural works, appear in the show but now with tin bells or jingles added to the reclaimed wool blankets. This choice of added material felt like a natural extension to Watt. She writes: “Blankets are danced and so are jingles, there is something healing about them both. They are objects of comfort” – by way of touch or sound. Jingles acknowledge the Jingle Dress Dance which began as a healing ritual in the Ojibwe tribe in the 1910s during the influenza pandemic. The Jingle Dress Dance was also a radical act. In 1883, the United States banned Indigenous ceremonial gatherings. Though the ban was repealed in 1978 with the American Indian Religious Freedom Act, during its century-long prohibition the Jingle Dress Dance was shared with other tribal communities. Today it is a pow-wow dance and continues to be associated with healing. The relevance of this dance extends beyond pandemics.” By including jingles Watt brings the potential of sound into her work, adding to their visual and tactile aspects.

While drawing from long craft traditions such as textile or glass work, Watt is expanding her work by including contemporary stories and both individual and collective experiences. Her primary interest is to think about art as more experiential, rather than only visual, a direction she plans to explore further.

This exhibition closes 5/20/23.

Mar 032023
 

Ulf Puder, “Winterlandschaft”, 2017

Ulf Puder, “Großer Felsen”, 2022

Ulf Puder “Taormina”, 2018

Ulf Puder, “Kleine Winterlandschaft”, 2022

Ulf Puder, “Willy Lott’s House”, 2022

For Ulf Puder’s painting exhibition at Marc Straus gallery in NYC, he has created paintings of subjects both natural and man-made in different states of decay and isolation, a reflection of the issues in our current world.

From the press release-

Ulf Puder, a landscape artist for 20 years, looks at the genre as a cultural concept, defining it as a clash between nature and culture. In his invented landscapes, he addresses cultural and political developments across Europe. He considers the two years of the pandemic, the energy crisis, the current Russian/Ukrainian war, other regional economic uncertainties, and various global conflicts. Puder approaches these struggles through romanticism, a viewpoint that is not in denial, but that plays on our weakness, laxed attitude, and idealism. Among the new works, one painting depicts a collapsing mountain, another an exploding rock. The rock, symbolic and powerful, signifies protection while also reflecting the broken state of the new world order. In addressing this dichotomy, the natural strength of the rock, millions of years unchanged, now begins to crumble with human intervention.

In Willy Lott’s House, Puder references a painting by John Constable that is influential in his work. The painting depicts a small American period house with contrasting dark clouds in the background and a well-lit foreground. The lighting is dramatic: electric lights, reflection on the water, an absence of sunlight and moonlight. A recurring question for Puder is how would one go about a painting today that was painted 100 or 200 years ago? He concludes that the first step is to recycle the title, closely followed by contemporary additions to the original version. The Icebergs, the title of a painting by American landscape artist Frederic Edwin Church, was painted in 1861. With this work, Puder has used the image in varying versions in his own work to address pressing contemporary issues. The icebergs, the mountains, and the alps are part of the artist’s experiences, while also acting as metaphors for cultural and political changes.

Puder’s creative process is traditional with a few contemporary twists. The earlier works were created entirely with brush and paint. He now uses a spatula with a deliberate application of paint to specific parts of the canvas; a roof, or a river path, for instance, are now more brilliant through the use of a new technique. He uses tape occasionally to create defined edges, and to create important elements of the pictorial plane, such as broken structures and melting icebergs. Puder argues that despite our infinite capacity to destroy, by shifting focus we can build up. In his continued quest to create quixotic worlds, he continues to look at nature and culture, and how a shift in one often impacts the other.

This exhibition closes 3/5/23.

Mar 032023
 

Renée Stout, “Navigating the Abyss”, 2022

Renée Stout, “A Question for Christoper Wool“, 2022

Renée Stout, “Escape Plan D (with Hi John Root, Connecting the Dots)”, 2022

Renée Stout, “Wall of the Forlorn”, 2022

Renée Stout, exhibition room

Renée Stout, “Armored Heart/Caged Heart”, 2005

Renée Stout’s exhibition at Marc Straus in NYC,  Navigating the Abyss, presents a collection of her recent work in various mediums. From sculpture and painting to photography, her skillful and inventive work draws you in.

From the press release-

Starting out as a photo-realist painter depicting life in everyday urban neighborhoods, Stout soon developed an interest in the mystical and spiritual traditions in African American communities. Fascinated with fortunetelling and the healing power of Hoodoo, Vodou and Santeria still practiced within the African Diaspora in the American Southeast and Caribbean, she delved into ancient spiritual traditions and belief systems. She has drawn inspiration from a wide variety of sources such as current social and political events, Western art history, the culture of African Diaspora, and daily city life. While her artistic practice is rich with references and resonances, her works are eventually unique manifestations of her own imagination, populated by mysterious narratives and imagined characters derived from the artist’s alter ego.

In this exhibition, we encounter a group of portraits depicting Hoodoo Assassins and Agents (#213 and #214) who, in Stout’s imagination, are healers, seers, and empaths from a Parallel Universe in which fairness and balance rules. Erzulie Yeux Rouge (Red Eyes) is a spirit from the Haitian Pantheon of spirits whose empathic nature makes her a fierce guardian or protector of women, children, and betrayed lovers. Ikengas, originating in the Igbo culture of Southeastern Nigeria, are shrine figures that are meant to store the owner’s chi (personal god), his ndichie (ancestors) and his ike (power), and are generally associated with men. Stout’s Ikenga (If You Come for the Queen, You Better Not Miss) is a powerful female figure with her breasts and horns turned into weapons, and she is adorned with jewels and charms to boost her powers. Beyond the playful yet powerful imagination of these female characters are serious undertones of political commentary as Stout ponders the concepts of these deities while witnessing the recent rulings in our society that infringe on women’s rights.

In Escape Plan D (With Hi John Root, Connecting the Dots) Stout maps out her potential escape to the Parallel Universe when the daily news weighs unbearably on her psyche.

Visions of the Fall, in Thumbnails is a series of five small paintings that comments on the current state of our world and its imagined future with the titles as upcoming stages of its evolution.

American Memory Jar is an entirely black sculpture consisting of a glass jar covered with thin-set mortar, plastic and metal toy guns, topped with a doll head and adorned with a bead and rhinestone cross pendant. Memory Jugs are an American folk-art form that memorializes the dead adorned with objects associated with the deceased. Stout’s jar is a bitter but painfully accurate assessment.

While Stout’s work alludes to history, racial stereotyping, societal decay, and a set of alarming tendencies in our socio-political structures and ecosystem, it also reveals possibilities and the promise of healing. Various works reference healing herbs, potions, and dreams. Herb List, Spell Diagram and The Magic I Manifest speak of Stout’s belief in the power of consciousness, in the existence of more solid and fertile grounds, and of individual responsibility.

There is one overarching narrative that clearly emerges from Stout’s work – her personal history and spiritual journey as a woman and as an artist.

This exhibition closes 3/5/23.

 

Dec 102016
 

 

todd-murphy-nov2017-stag

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Marc Straus gallery on the Lower East Side has two great sculpture shows closing this weekend (12/11/16). Todd Murphy’s mixed media sculptures are gorgeous creations which glow on the walls of the upstairs space.

On the first floor of the gallery, are Chris Jones’ intricate pieces created with images from discarded magazines and books. The details within these worlds become more and more apparent the longer one looks at them, including plants growing into other spaces and laundry tumbling out into other frames.
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(images via Marc Straus)