Throwback- Los Angeles Art Shows and Public Art- Mark di Suvero at L.A. Louver and in Venice

 Art, Art Shows by Location, Artists, California Art Shows, Installation Art, Los Angeles Art Shows, Painting / Painters, Public Art, Sculptors / Sculpture
Sep 182025
 

Abstract expressionist artist Mark di Suvero‘s sculpture Declaration (pictured above) is located on the Venice Beach Boardwalk in Los Angeles. It was installed in 2001 to commemorate the Venice Art Walk’s 22nd year and in support of the Venice Family Clinic, a local organization that provides quality health care to those in need. Di Suvero turned 92 today, 9/18.

Although he is well known for his large sculptures, he is also a painter. Some of these works were shown in 2019 at L.A. Louver in Los Angeles along with some of his smaller sculptures (pictured below).

From the L.A. Louver press release about the paintings-

A selection of brilliant abstract paintings by the artist accompanies the sculptures. Like the sculptures, his paintings are never still. Created with dazzling colors in dense layers of linear and freeform gestures, they project a swirling sensation akin to the twirling movement in his three-dimensional works. Accented with phosphorescent paints, the works luminesce and reverberate even in the absence of light (and are especially dazzling when activated by black lights installed throughout the gallery space). “The heart of art is the search for form that is electrifying, that gives life to our vision,” explains di Suvero. “This is the language of emotion. Anesthetic is to kill feeling. Aesthetic is the opposite, aesthetic is feeling. The thing that is most important is the dream, the vision for what doesn’t exist that could exist.”

It was recently announced that L.A. Louver will be closing their Venice Beach space, but in happier news they will be donating the gallery’s complete archive and library to The Huntington in San Marino, California.

Flashback- Robert Irwin at Pace NYC and Palm Springs Art Museum

 Architecture, Art, Art Shows by Location, Artists, California Art Shows, Conceptual Art, Films, Installation Art, Mixed Media, New York Art Shows, Painting / Painters, Palm Springs, Palm Springs Art Shows, Public Art, Sculptors / Sculpture
Sep 122025
 

Born today, 9/12, artist Robert Irwin used light and space in his work as a way to create an experience for the observer. He started out as a painter but later became well known for his site-specific installations and architectural and outdoor projects- including the central garden at the Getty Center in Los Angeles (pictured below) and his work for the Chinati Foundation in Marfa, Texas.

The works above are from his 2020 exhibition, Unlights, at Pace Gallery in New York.

About that show from Pace-

Irwin’s new works are composed from unlit six-foot fluorescent lights mounted to fixtures and installed in vertical rows directly on the wall. The glass tubes are covered in layers of opulently colored translucent gels and thin strips of electrical tape, allowing the reflective surfaces of unlit glass and anodized aluminum to interact with ambient illumination in the surrounding space and produce shifting patterns of shadow and chromatic tonality. Reflecting his recent turn toward the perceptual possibilities of unlit bulbs, Irwin’s new body of work expands the range of possibilities for how we experience sensations of rhythm, pulsation, expansion and intensity, while continuing the artist’s long-standing interest in registering the immediacy of our own presence in space.

Expanding from his breakthrough disc paintings of the late 1960s, Irwin’s new works effectively dissolve the perceived border between object and environment, focusing the viewer’s consciousness on the act of perception. Each light fixture in Irwin’s sculptures contains one or two unlit bulbs—or no bulb at all—while alternating gaps of “empty” wall are painted in subtle shades of gray, producing a sense of uncertainty about what is tactile and what is merely optical. As the shadowed, painted and reflected intervals of space reverberate in the viewer’s visual field, the wall itself enters the composition, destabilizing any sense of figure and ground. To encounter Irwin’s sculptures is thus to allow oneself to be caught in a ceaseless oscillation between flatness and volume, transparency and opacity, solidity and atmosphere.

In Irwin’s art, the object functions as a kind of score for orchestrating “the continual development and extension of humans’ potential to perceive the world.” Although unlit, the bulbs in these new sculptures are therefore never “off.” Their optically rich surfaces serve as energetic loci for heightening the sensory possibilities of the human body. In their chromatic complexity, the works convey an almost painterly quality, recalling Irwin’s origins as a second-generation Abstract Expressionist painter in the 1950s. Suggesting a rhythmic, minimal composition of repeated linear elements, the works also evoke his innovative line paintings of the early 1960s, which involve us physically and perceptually in an open-ended, immersive and transitory experience of seeing.

Widely recognized as a pivotal figure in contemporary art, Irwin is closely associated with the Light and Space movement that emerged in Los Angeles in the 1960s, and he has continued to live and work in Southern California for his entire career. He first used fluorescent lights as substrates for producing what he has called a “conditional art” in the 1970s, often in combination with architectural scrims and other spatial interventions. In the 1990s he introduced colored gels to the fluorescent tubes to alter the chromaticism of the light, and, over the past decade, began isolating the bulbs and fixtures as sculptural objects in their own right. In returning to the use of solely ambient light, Irwin’s new sculptures embody the culmination of seven decades of rigorous experimentation.

“Everything in the world is ultimately conditional,” Irwin has observed. “There is nothing that’s transcended or infinite or whatever you want to call it. Everything acts within a set of conditions.” Like all of Irwin’s works, his new sculptures respond differently to the conditions of each specific environment in which they are installed, attuning our senses to a given context and making possible an intuitive and incidental experience of seeing that resists rational or conceptual explanation. “It’s not about answers,” the artist once remarked, but rather about the act of questioning: “It’s the constant pursuit of the possibilities of what art is.”

Getty Center, Los Angeles

Below is one of his earlier paintings Untitled, 1964-6, which was on view at Palm Springs Art Museum for the 2024 exhibition Particles and Waves: Southern California Abstraction and Science, 1945-1990.

From the museum about the work-

Although this work appears to have a monochromatic white surface from afar, a matrix of thousands of painted dots becomes visible from a closer vantage point. Irwin aimed to highlight the visual effects of color interaction by juxtaposing light green and lavender, complementary colors across from each other on a color wheel. The canvas’s outwardly bowed supports and the increasing density of dots towards the painting’s center further heighten the viewer’s perceptual experience of the work.

The documentary Robert Irwin: A Desert of Pure Feeling, does an excellent job detailing his life, art, and the philosophy behind his work. It is well worth a watch and inspiring to watch him still at work in Marfa at 87. He passed away in 2023 at the age of 95.

Throwback- NYC Murals- Nina Chanel Abney on the High Line

 Art, Art Shows by Location, Artists, New York Art Shows, Painting / Painters, Public Art
Sep 112025
 

Nina Chanel Abney created NYC LOVE for the High Line in New York in November 2022 and it was on view until November of 2023.

From the High Line website about the artist and the work-

Nina Chanel Abney creates paintings, prints, and large-scale mural installations that reflect the frenzied pace of contemporary life. In a single painting, she may merge influences from news and politics, celebrity culture and gossip blogs, social media, art history, and popular television shows, all layered together to express the overabundance of contemporary culture. Layering spray paint and acrylic paint, Abney composes scenes of everyday life with graphic, angular figures posed in narrative scenes against bright, geometric backgrounds. In one of her recent series of works, Abney sets out to realize a rural Black queer utopia, inspired by the time she spent escaping New York City during the pandemic.

For the High Line, Abney realizes NYC LOVE, a new mural that celebrates the feeling of first arriving in New York City. NYC LOVE is a whimsical take on New York City’s classic iconography. When the artist moved to New York in 2005, she would meander through the city streets from Chelsea to Times Square, seduced by the hustle and bustle, bright lights, and the idea of a sleepless city. All of the “touristy” icons that most lifetime and long-time New Yorkers take for granted were gratifying and glossy to Abney, a self-described Midwestern suburbanite. NYC LOVE is representative of Abney’s first years as a student and tourist in New York City—an ode to the feeling of newness and unfamiliarity that breeds excitement and possibility. Featuring the many icons of New York—pizza slices and the Statue of Liberty, plenty of pigeons, and one Big Apple—Abney’s mural rides the subway, floats along the waterfront, and takes in all the city has to offer. NYC LOVE graces the High Line, an icon in itself that welcomes millions of New Yorkers and visitors alike to enjoy the many offerings of the bustling metropolis.

 

 

Ohio Art- Sol LeWitt at Akron Art Museum

 Akron, Art, Art Shows by Location, Artists, Conceptual Art, Design, Drawing, Installation Art, Ohio Art Shows, Painting / Painters
Sep 092025
 

In honor of artist Sol LeWitt‘s birthday today (9/9), here is his work Wall Drawing #1240, Planes with broken bands of color (Akron), located at Akron Art Museum. It was created in 2005 and installed at the museum in 2007.

The piece was drawn by Megan Dyer, Tomas Ramberg, Joe Ayala, Jennifer Bair-Shipman, Ashlie Dyer, Kathy Ilg, Sarah Sutton and Kelly Urquhart.

From the museum about the work-

Presiding over the McDowell Grand Lobby is a wall drawing by Sol LeWitt, one of the leading artists of his time. LeWitt’s approach to art stressed rigorous design and geometric abstraction, rejecting narrative, emotion and representation for the reality of art’s elemental components—line, shape, space, color and the most important, concept.

LeWitt began creating wall drawings in 1968 in response to his concern-and that of other artists at the time-that art was becoming too much of a commodity. These drawings are not so much physical objects as ideas. The artist conceived and planned them; his “drafters” (artists themselves) draw them directly on the walls of museums and public spaces around the world. Drawings may share forms and motifs, but each is unique and many, like Akron’s, are site specific.

Wall Drawing #1240 was created by the artist for the 18 by 34 foot wall where the museum’s historic 1899 building and its 2007 expansion interconnect. The triangular shapes refer to the angled supports and folded forms of the newer glass and steel lobby, while the blocks of color echo the brick wall removed from the south façade of the older building. Two drafters, assisted by area artists, worked for five weeks to fabricate the wall drawing.

 

Flashback- NYC Art Shows- Whitney Biennial 2024- Mavis Pusey

 Art, Art Shows by Location, Artists, New York Art Shows, Painting / Painters
Sep 052025
 

Mavis Pusey‘s painting, Within Manhattan, 1977, pictured above, was one of several included as part of Whitney Biennial 2024: Even Better Than the Real Thing.

From the museum about the artist and the painting-

Mavis Pusey was born in Kingston, Jamaica, in 1928. She is known for her abstract paintings of bold shapes and hard edged lines found in architectural spaces. Pusey was a prolific artist who found inspiration in the geometric forms found both in fashion patternmaking and in the printmaking process. During sessions at the Robert Blackburn workshop, Pusey began to develop a body of work revealing the process of urban transformation happening in New York City. She was captivated by the shifts in the urban environment that kept the city suspended in a cycle of destruction and reconstruction.

Throughout her career, Pusey taught at institutions for higher education in New York, Pennsylvania, and was a high school teacher in Virginia. In 2019 at the age of ninety, Pusey passed away after years of declining health. Her legacy lives on through the collections of major cultural institutions across the U.S.

Inspired by the ever-evolving changes in the urban landscape, Pusey presents a familiar scene of demolition and construction in the painting Within Manhattan. Geometric forms resemble architectural building blocks in the process of being assembled or possibly deconstructed. The configuration of shapes in the work allows us to imagine the motion present at the site with scaffolding giving way to discarded boards, positioning us as spectators to change.

The first major museum survey of her work, titled Mobile Images, is currently at ICA Philadelphia until 12/5/25.

 

Flashback- NYC Art Shows- Katie Bell at Spencer Brownstone Gallery

 Architecture, Art, Art Shows by Location, Artists, Conceptual Art, Mixed Media, New York Art Shows, Painting / Painters, Sculptors / Sculpture
Sep 052025
 

“In Search of Form”, 2024, Acrylic, wood, aluminum, glass, rubber baseboard, rope, plastic tubing, drywall, solid surface, and cue balls

“Through Line (Grass) 1”, 2024, Acrylic and wood

“Line of Sight (Sunset)” and “Line of Sight (Horizon)”, 2024, Wood, acrylic and rubber

The images above are from Katie Bell‘s 2024 exhibition Edges in Search of Form at Spencer Brownstone Gallery in NYC.

From the gallery press release-

The lawn’s flat nature leads your eye to the edges in search of form, and if the edges are not sharp it will not show.

Spencer Brownstone Gallery is pleased to present Edges in Search of Form, Katie Bell’s second solo exhibition with the gallery. The show is composed of a collective of individual paintings, sculptures, and installation elements that share a common visual language with influences from architecture, the landscape, and Surrealism. The title of the exhibition references the quote above, advice from a gardener on crafting the perfect lawn.

Trained as a painter, Katie Bell’s sculptural practice stems from a rethinking of the painting process in the third dimension. Basic forms and simple found objects act as individual marks within the canvas of space, most evident in Through Line (Grass). The monochrome, matte grass green prisms are assembled together and around, activating space and generating an environment of its own. Pared down to its base attributes, shape, color, scale, and quantity foreground their objectness while their modularity alludes to a whole, greater than the sum of its individual parts. The rigidity and simplicity of the form is contrasted by its color and organic arrangement.

Operating similarly are the Line of Sight paintings, compact forms reduced to its base elements. Their shape, undulating line, softer hues, and subtle change in tones recall landscapes, shifting light, and the passage of time. The opposite wall features an amalgam of fabricated and found objects. In Search of Form is various in material and texture, with components overlapping, weaving, and puncturing the other. The eyes follow the intricacies of their interaction like a visual Rube-Goldberg machine. Or like the futile attempt of some to maintain the length and shape of grass, an exercise in controlling those things in our world that resist.

Reconciliation comes in the form of bird baths. Often found on lawns or backyards where the natural order is kept at bay to the best of one’s ability, they are beacons that welcome natural behavior. Composed of a patchwork of stone-like Corian, Water Table (Bird Bath) melds with the tones of our landscape while standing out in its formality.

Bell’s overall installation illustrates the light and often hard touches of human intervention. Her constructed worlds explore the absurdity of our extreme pursuit in controlling our environment, and ultimately its analogue in art making.

Flashback- Paul Signac’s “The Demolition Worker” from MoMA’s 2020/1 exhibition- “Félix Fénéon: The Anarchist and the Avant-Garde-From Signac to Matisse and Beyond”

 Art, Art Shows by Location, Artists, History, New York Art Shows, Painting / Painters, Politics
Aug 292025
 

Today’s flashback, in honor of Labor Day weekend, is to Paul Signac’s Le Démolisseur (The Demolition Worker), 1897–99, which was on view at MoMA in NYC in 2020/2021 as part of- Félix Fénéon: The Anarchist and the Avant-Garde-From Signac to Matisse and Beyond.

About the exhibition-

Who was Félix Fénéon? The first exhibition dedicated to this extraordinarily influential but little-known figure explores how he shaped the development of modernism. A French art critic, editor, publisher, dealer, and collector, Fénéon (1861–1944) championed the careers of young, avant-garde artists from Georges-Pierre Seurat and Paul Signac to Pierre Bonnard and Henri Matisse, among many others. He was also one of the first European collectors of art from Africa and Oceania. A fervent anarchist during a period of gaping economic and social disparities, Fénéon believed in the potential of avant-garde art to promote a more harmonious, egalitarian world.

About the painting from the museum-

Signac called for artists to deliver the “forceful blow of a pickaxe to the antiquated social structure.” Here, he depicts demolition workers tearing down the edifice of the old order as a new dawn rises behind them. The monumental canvas is an allegory for Signac’s anarchist vision of a modern, egalitarian society in which laborers would be treated with fairness and respect.

Anarchism flourished during the late 19th and early 20th centuries in France, a period often referred to as the Belle Époque. Though celebrated for its extraordinary cultural achievements, the era saw horrendous economic devastation for a large swath of the population, instilling in many a profound distrust of state institutions. Anarchists, including Fénéon, Signac, and many of their artist and writer friends, looked to a utopian future, when the dissolution of the capitalist government and bourgeoisie would allow social harmony, economic fairness, and artistic freedom to prevail.

This exhibition is included in MoMA’s Virtual Views series on their website- allowing the public to view the show, learn from the curators, and more.

Delaware Art Shows- “Marisol to Warhol: Printmaking and Creative Collaboration” at Delaware Art Museum

 Art, Art Shows by Location, Artists, Delaware, Drawing, Illustration, Painting / Painters, Printmaking, Wilmington
Aug 272025
 

William T. Williams, “Walter’s Advice”, 1970, Oil on canvas

10-color screen prints by William T. Williams in collaboration with HKL Ltd.

A selection of books surrounded by posters created for The Pennsylvania Opera Company

Six works by painter and printmaker Gabor Peterdi

Prints by Ilya Bolotowsky

Delaware Art Museum is currently showing an impressive collection of prints from a variety of artists for Marisol to Warhol: Printmaking and Creative Collaboration.

From the museum about the exhibition-

Marisol to Warhol: Printmaking and Creative Collaboration, brings together more than a dozen portfolios and suites in DelArt’s collection. The featured prints showcase the creative collaboration of artists who experiment across media. The exhibition presents a who’s who of American artists working in the second half of the 20th century, including Marisol, William Majors, Jacob Lawrence, Andy Warhol, Audrey Flack, Robert Blackburn, Ben Sakoguchi, Lorna Simpson, Lowell Nesbitt, and Luis Jiménez. Produced by individuals and print shops, these groups of prints functioned as tools for commemoration, fundraising, and political awareness in a range of techniques, styles and intentions.

Joining the exhibition is a special loan from Art Bridges, William T. Williams’ painting Walter’s Advice from 1970. Produced the same year as a newly acquired print portfolio by Williams, Walter’s Advice employs similar forms and colors. The two are displayed together to showcase an artist’s creative exploration across media and the collaborative aspect of printmaking.

Below are a few more selections-

Pages from Dead Birds, a book which combined poetry by Christopher Erb with prints by 24 artists.

From the museum-

Dead Birds pairs poetry by Christopher Erb with prints by 24 artists, demonstrating the vibrant artistic community around the poet and his wife Elena Laza, a printer, designer, and typographer. Erb penned the poems and sent them to artists who used them as inspiration for their prints. Once the prints were produced, Laza typeset and printed the text using a turn-of-the-century press and created boxes to house the prints.

Several of the collaborating artists were affiliated with Robert Blackburn’s Printmaking Workshop and the Center for Book Arts in New York, where Erb and Laza exhibited. Others worked and studied at the Art Students League of New York and were introduced to the project through Will Barnet, a master printer and longtime instructor at the League. Dead Birds was among Erb’s most ambitious and collaborative projects.

Above are four prints from Lowell Nesbitt‘s Moon Shot print series.

From the museum-

Lowell Nesbitt produced this suite of prints, published by the Palley Gallery, following his participation in NASA’s Artist Cooperation Program. Artists working for NASA had behind-the-scenes access to witness events like launches and splashdowns up close and in person. For this series, though, Nesbitt reproduces photographs of the one place NASA can’t let him go: the Moon.

Nesbitt is often associated with Photorealism, but these prints take evocative liberties with their approach to depicting the Moon. Bolstered by quotes from astronauts, Nesbitt meditates on the visual experience of seeing the Moon up close and undistorted by the Earth’s atmosphere. The cratered surface appears in shimmering gestural whorls against the black paper-an appropriate stand-in for the unpigmented vacuum of outer space. Nesbitt’s portfolio considers space exploration alongside his printmaking process. One lithograph showing the footprint of an astronaut’s boot pressed into the lunar soil seems to reference the lithographic process itself.

Upstairs in a separate section are prints from Salvador Dalí’s playing card series, seen below.

From the museum-

In 1967 and 1969, Salvador Dali designed a set of playing cards for the renowned French printing house Draeger Freés. Several years later, the artist revisited the project and created a series of 17 designs featuring an ace, jack, queen, king, and joker in each suit. The art dealer Reese Palley later published the 250-print edition with the goal of selling individual prints at an elaborate, 50th birthday party in Paris. The sales scheme, and the chartered Pan American flights from Atlantic City to the event, were widely covered in national press in January 1972. Both the original cards and the prints that followed feature Dali’s surreal motifs and reference many of his most famous paintings.

This exhibition closes 9/7/25.

Delaware Art Shows- “Bricolage: Artists & Accumulation” at The Delaware Contemporary in Wilmington

 Art, Art Shows by Location, Artists, Conceptual Art, Delaware, Drawing, Fiber Arts, Glasswork, Installation Art, Mixed Media, Painting / Painters, Sculptors / Sculpture, Wilmington
Aug 212025
 

Painting by Kelly Irvine

Installation of sculptures by Allison Hudson

Work by Anna Guarneri

Each of the five artists in Bricolage: Artists and Accumulation, currently on view at The Delaware Contemporary, use their materials to express meaning through a layering process.

From the curators, Kasia J. Bunofsky and Leah Triplett-

“I have a very simple theory. I have always pretended that objects themselves formed a self-composition. My composition consisted of allowing them to compose themselves.” – Armand Pierre Fernandez (Arman) (November 17, 1928 – October 22, 2005)

When ‘assemblage’ first circulated as an art-historical term in the early twentieth century, it referred to the primarily formalist practice of joining tangible, often discarded or found, materials. Like a three-dimensional collage, assemblages made novel juxtapositions of individual components to create a whole artwork with its own impact. As the topography of the art world shifted mid-century, assemblage was often used to critique the post-war era’s burgeoning consumerism. Similarly, “accumulation” refers to a kind of assemblage that emphasizes materiality through the mass repetition of similar objects or forms. Accumulations lent themselves particularly well to expressing discontent with consumerism. They underscored the commodity’s necessity as a medium while maintaining the artist’s agency to reclaim meaning through the processes of recontextualization and repetition. As time persisted, assemblage continued to inspire and lend credibility to avant-garde contemporary movements. Even the new wave of ‘conceptual art’–a blatant rejection of materiality–was seen as an assemblage that forwent concrete objects to assemble ideas, language, or concepts. From installation art, to performance, to ‘relational aesthetics’, assemblage and accumulation helped pave the way for today’s contemporary art world and its many innovations.

Assemblage and accumulation emphasize the importance of each material element to the message of the completed work of art. This idea evokes a sense of collectivism; a metaphorical microcosm of material cooperation that might inspire a yearning to change our individualistic society, as art reminds us the whole cannot exist without the contributions of every one of its parts.

The artists and works featured in Bricolage: Artists and Accumulation reference the tradition of assemblage, accumulation, and their many corollaries; either through the performance held within their artistic process, their compilation of abstract concepts, or their passion to speak through material. They build, assemble, accumulate, gather, and collect. Using assemblage as both a method and technique, these artists engage assemblage as an action that is always in perpetual evolution of form. Be their medium drawing or sculpting, painting or installation-their material glass or found objects, acrylic or graphite- Anna Guarneri, Allison Hudson, Brynn Hurlstone, Kelly Irvine, and Emilio Maldonado, apply an iterative, intuitive approach to making, resulting in a bricolage.

This aesthetic- in which the whole is a sum of parts-demonstrates a depth of material knowledge. The works presented here require long looks to unfold and reveal their discrete components. Layering, stacking, blending, and amalgamating are processes and aesthetic devices that enable the viewer to experience the work in an instinctual way. Throughout these artists’ individual practices, an emphasis on transformation through collecting and comingling materials, media, and forms is paramount, with bricolage being a means for metamorphosis.

Below are additional works by the artists and information from the museum-

Allison Hudson

“My work explores the nature of cycles and the emergence of growth from decay. It’s tactile and fragile- a combination of unfired clay, wool, fabric, resin, and wax. Driven to manipulate raw materials into something new and unrecognizable, I enjoy the physicality of building, tearing apart, and mending together – striving to create work that is at once ethereal and visceral.”

Kelly Irvine

“My abstract color field paintings invite the viewer to step into a lush, translucent world of color. Drawn to the beauty of layered transparent hues from an early age, I use sheer color, overlapping forms, gestural brush work, organic forms, and repeating motifs that flow and intersect, resulting in delicious new hues and increased tonal depth. Contrast is important in my work as well; hard edges are in conversation with areas of soft gradation, while vibrant, neon hues pop against muted tints and natural, raw canvas.

I’m especially inspired by the canvas staining techniques and paintings of Helen Frankenthaler and Washington Color School artists Morris Louis and Kenneth Victor Young. I pair that inspiration with constant experimentation and manipulation of materials, developing new processes as a natural outcome.”

Anna Guarneri‘s work explores the possibilities of suggestive imagery and the devotional connotations of stained glass. She uses crude marks and associations to tap into early human experience, pulling from a range of sources – ancient art, architecture, dance history, and her own body. Colors in her work conjure poignant memories, turning drawn forms and glass structures into celebrations, memorials, or premonitions.

Guarneri’s latest body of work pulls from the visual world of postpartum life, incorporating imagery of bodily landscapes and interiors, and the various devices, accessories, and toys encountered during pregnancy, birth, and early motherhood.

Brynn Hurlstone

“In Time explores the process of healing from trauma, and the permanent transformation left behind once that process begins. Layers of broken safety glass are frozen within ice and slowly melt over a steel platform. The thaw allows for the release of contained breakage onto the foundation, where it rests in a slowly evaporating pool of water. Over time the water evaporates and the shattered glass may be swept away, but the foundational steel upon which the process took place will forever carry its traces.”

Emilio Maldonado

“I create art to explore personal narratives and navigate life through the material culture of capitalist America.
My work raises questions about social constructs, structural inequalities, and the dynamics of race and class. Through a multidisciplinary approach, I repurpose discarded objects as a means to reflect on memory, identity, and social conventions.”

This exhibition is on view until 8/24/25.

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