Dec 222016
 

Paulina Olowska

There are many excellent art shows closing this week in Chelsea. The following are a few of them:

For Paulina Olowska‘s Wisteria, Mysteria, Hysteria, her painting series at Metro Pictures, she conceived and executed the work in the Polish village Rabka-Zdrój, where she lives.

From the press release-

The paintings incorporate arcane references and nuanced details from sources that allude to the pastoral. Olowska combines portraits of women from gardening magazines with elements from Slavic mythology and folklore, as well as techniques from Les Nabis, artists who left Paris in the 1890s in favor of the countryside….

Olowska’s atmospheric paintings evoke the forgotten history of Rabka-Zdrój’s past grandeur as a 19th century spa town. In the triptych “Wisteria,” an elegant young woman in a red dress and hat leans, arms outstretched, against a wooden fence as flowers from the tree that gives the work its title fall from above. To her right in the painting stands Villa Kadenowka, a 1930s mansion that Olowska has transformed into a center for artist events. To the woman’s left is the abandoned Modernist addition to Kadenowka. In “Hysteria,” a mother, baby in arm, stands outside a dilapidated house with a spray-painted for-sale sign. In “Mysteria,” a woman wearing an elaborate cape proudly rides on horseback through the woods. Olowska establishes a narrative between these two works; in one scene a woman chooses to leave the trappings of conventional domesticity, while in the next another embodies ideas of mobility and freedom.

Carl Palazzolo

At Lennon Wineberg, Inc., are Carl Palazzolo‘s The Hours, and Maine Notes, his small (8inches x 8 inches) canvas paintings that vary in subject and composition, but encompass his central themes of memory and the passage of time.

troybrauntuchatpetzelgalleryTroy Brauntuch‘s large scale paintings at Petzel gallery become clearer the longer you look at them, and vary in content from images of sculptures, to ball gowns, to the gloves from the O.J. Simpson trial.

 

Dec 102016
 

 

todd-murphy-nov2017-stag

todd-murphy-murmuration-12016

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.
joneschris-after-they-had-left-2015

joneschris-portrait-1-14-25-x-11-5-x-1-in

jones-chris-of-vanished-alphabets-2016-05

(images via Marc Straus)

Dec 032016
 
aidasbareikiscanadagallery1116

Aidas Bareikis “Too Much Seaweed”, 2016

This is the final weekend of two excellent exhibitions on the Lower East Side in New York. The first is Aidas Bareikis’ Barrel of Fortune at Canada gallery.

From the press release-

In Barrel of Fortune, his first solo exhibition at CANADA, Bareikis distills his enduring vision into bundled masses. He stacks and wraps cultural objects in fabric and string, building altar-like assemblages shrouded by paint and recognizable trash. The sculptures are propped up by found furniture, wood or aluminum, and exposed to forces like time, gravity, or the elements. Rendered in deep reds, acidic oranges and vintage blues, each work operates like a junkyard relic: a curious portal into another era slowly merging with the local flora. It’s here where Bareikis navigates, somewhere between scientific method and pure psychic automatism, covering his tracks in a role equal parts wandering scientist and mad poet.

And at McKenzie Fine Art, Reed Danziger’s new paintings are dense with small details and geometric patterns which combine to form a beautiful and energetic organized chaos.

reedalexanderfromdibsDetail from A Rearrangement, 2016 (image via 1st Dibs)

Apr 162016
 
23056_h2048w2048gt.3

Mara De Luca, “INDIO”, 2015 (image courtesy Edward Cella Art & Architecture)

23249_h2048w2048gt.3

Mara De Luca, “INDUSTRY”, 2014 (image courtesy Edward Cella Art & Architecture)

Today (4/16/16) is the last day to see Mara De Luca’s solo exhibition Driving Sunset at Edward Cella Art & Architecture.

From the press release–

An MFA graduate of CalArts, De Luca explores the conceptual and expressive potential of process-driven abstract painting. Her works are informed by her study and re-appropriation of art historical conventions, her visual interpretation of literary sources, and the recurring visual tropes of contemporary high-end fashion advertising. Inspired by Los Angeles’ stark contrasts, a place where beautiful natural landscapes coexist alongside endless freeways and countless billboards, De Luca reveals a depth in the superficiality of surface, and an emotive complexity in formal concision.

The show’s title is a reference to Joan Didion’s novel Play It as It Lays, in which the main character drives around Los Angeles aimlessly while trying to clear her mind. There’s a sense of that sought after calm in these paintings, whose colors and dark cloud-like shapes bring to mind the skies and sunsets of California.

Mar 122016
 
aaronfowlermomdianerosenstein

Mom Knows

aaronfowlerflagdianerosenstein

Black Flag

aaronfowlerdetail

Detail from Black Flag

The mixed media assemblage paintings in Aaron Fowler‘s current solo exhibition, Blessings on Blessings, at Diane Rosenstein gallery, are large, highly detailed, and dense with imagery.

From the press release-

Aaron Fowler, who was born in St. Louis and currently lives and works in Harlem, creates mixed-media assemblage-paintings that depict his experiences and the lives of his family and friends in both a personal narrative and an epic journey through contemporary America. The title of this exhibition, which includes twelve portraits, tableaux, and medallions created in the past year, refers to lyrics from “Blessings”, a 2015 song by American rapper Big Sean.

In these sculptural tableaux, Fowler depicts himself as a “mirror character” called The Pilgrim. He employs oils, acrylics and collage – often pixilated ‘photo print-outs’ based on 18th C. American historical painting – alongside objects like Adidas sneakers, CDs, T-shirts, and plastic bags.  The dynamic, large-scale compositions are enacted on discarded domestic materials including shutters, mirrored doors, windows, and card tables.

This show closes 3/12/16.

 

Mar 122016
 

markdutcherjasonvassgallery

Mark Dutcher‘s solo exhibition, Time Machine, currently at the new Jason Vass Gallery, includes his complete Time Machine series of ten paintings as well as his Optimist Benches. The paintings, primarily in shades of white, are beautifully balanced by the brightly colored benches, which are meant to be used for contemplating the work on the walls.

From the press release-

Encouraged by the physical immediacy of painting and by its mnemonic capacity to invoke nostalgia, Dutcher began the Time Machine series in 2012 with a desire to capture and revisit enduring past impressions. The series began with an attempt to represent a pivotal moment in his development as an artist, when, in 1983, viewing an abstract painting by Susan Rothenberg at LACMA he experienced a profound shift and consolidation of purpose. Dutcher wanted to return to that specific moment in time, to capture the feeling of that day through an intuitive approach to abstraction. He went on to create nine additional paintings in the series, each in search of the conversion and representation of a fleeting memory. By revisiting these impressions, Dutcher literally recreates a personal history through emotive recall, visually incorporating fragments of text, (sometimes song lyrics or friends and lovers’ names specific to the time), painterly gestures, and physical remnants of time spent in the studio to convey sensorial memories. Dutcher’s tributes to the past are both celebratory and melancholic, as each commemoration inevitably carries its weight in loss.

Also included in the exhibition is a painting from Dutcher’s Hart Crane series and six smaller works on paper from the Time Machine series.

This show closes on 3/12/16.

 

Mar 052016
 

chrisballantynezevitamarcustheirphoto

chrisballantynezevitamarcustheirpic2

chrisballantyne3theirpicsunset

There is an incredible quiet beauty to Chris Ballantyne‘s exhibition Transcendental Divide/Transitory Space at Zevitas Marcus in Culver City.  The paintings, all on wood panels, contrast the tininess of the man made structures with the vastness of the natural landscapes.

From the press release-

Transcendental Divide/Transitory Space continues Chris Ballantyne’s exploration of the tensions that exist between nature and man’s ever-expanding imprint on the planet. Employing a dry sense of humor and architecturally precise draftsmanship, Ballantyne delicately renders familiar images of everyday life – a neglected swimming pool, an empty parking lot, a vacant home – and juxtaposes them with often vast expanses of nature. The overall effect is such that signs of civilization start to seem both absurd and obsolete. In this exhibition, a highway interchange becomes an infinity loop; a suburban ranch house is inexplicably perched on the edge of a massive canyon; and a ship, dwarfed in scale to the canvas on which it is rendered, floats into a serene white void.

Ballantyne says of his work, “I want to suggest that empty space or nothingness has real meaning, as do the everyday and overlooked.”

This show closes 3/5/16.

(images courtesy of Zevitas Marcus)

Feb 272016
 
danaweiseratwaltermaciel

Dana Weiser

gregmocilnikaratwaltermaciel

Greg Mocilnikar

Los Angeles based artist Dana Weiser’s exhibition at Walter Maciel Gallery, Without you, I couldn’t be me…, focuses on her experiences as a member of an interracial family. Weiser was adopted from Korea as an infant by a Jewish-American family and raised in the Midwest . She has a sister who was also adopted from Korea.

From the press release-

…Weiser’s work explores lost identity, multiple identities, and racial identity with her emphasis of being an outsider in a predominantly white community where she never felt a strong affiliation to any group or faith.  The inevitable questions like “Have you met your real parents?” and “Is she your real sister?” are often the opening liners upon introduction and these phrases become the subject matter as literal text interpretations spelling out the racist remarks.  In one series using large sheets of vintage lace as the surface, pearl beads are stitched into the fabric to spell comments like “I’m not racist or anything but…” or “I don’t mean to sound racist but…” The delicate and intimate technique of traditional beading challenges Weiser’s skills much in the same way as her ability to pacify her true emotions and refrain from bleak replies.

In addition to the beaded work, she also addresses some of her relationship with Korean culture in three self portraits- Enacting my Koreanness, (self-portrait performance). There are also two neon sculptures- one that reads “adopt” with an “a” over the “o” to create “adapt” and the other the title of the show in a circle. The different mediums make the exhibition feel a bit chaotic but perhaps that also keeps with the theme of having an identity that is hard to pin down.

In the other gallery are Greg Mocilnikar’s colorful abstract paintings and works on paper have a lively energy.

Both of these shows close 2/27/16.

Dec 192015
 

jameshydeldjgallery1

jameshydeldjgallery2

jameshydeldjgallery3

 

James Hyde’s exhibition Ground at Luis de Jesus Los Angeles combines photography and painting to form strong graphic images.

From the press release–

The title “Ground” resonates with the descriptive photography of western landscapes. In the painting context, the ground is the active place on which painting occurs. Hyde uses a home brewed paint for these works, consisting of pigment dispersed in acrylic mediums, and in most cases that pigment is a form of ground earth. In turn, Hyde’s photographs follow a “light-room” process developed in the computer, distorting and adjusting it and challenging the notion of any factual naturalism.

Resisting genres and traversing mediums, Hyde investigates the abstract gesture in relationship to photography. His opposition to the “realism” of digital photography, placed against the colors of abstracted shapes, snaps photography into place, making it a site, a location, and naturalizing it as a pictorial fact while reframing the question of the truthfulness of photography.

This exhibition closes 12/19/15.

(images via Luis de Jesus Los Angeles)

Dec 122015
 

leonbenn

If you are headed to Culver City, make sure to check out Leon Benn’s painting exhibition Spare Time at Roberts & Tilton gallery. His process for creating these paintings is especially interesting.

From the press release–

The surfaces are slowly built up through varying layers, dimensions, demands. Benn starts his paintings by selecting canvas, which he then treats and hand dyes prior to starting batik applied through a water-based resist. Drawings utilizing oil pastels breaches the structure left from the underlying batik motif. The results are phantasmagoric paint-scapes that explore imagistic transference of natural imagery to a static commercial medium.

This show closes 12/12/15.