Saturday, July 23, 2016

Algae Blooms at Central Marina, Stuart, FL

En route to Boca Raton Museum's All Florida exhibition on Florida's East Coast I made an impromptu visit to the Central Marina. The Stuart Park Coast Guards told me the Marina's lack of water circulation created a holding tank for algae caused by runoff from chemicals used in farming, such as pesticides, that infiltrate the water and change its composition.

The lurid green is beautiful, like a paint pour - an aesthetic prompt  for the alarming reality that to breathe this stuff is toxic in the extreme. Its stench equals formaldehyde in a dissection room.



The algae forms a sticky muck,  untenable for breathing.

Inhabited by bugs and flying creatures.




Stagnation meets fresh water.
The Anthropocene Age must redefine the balance of human presence in nature  as our points of intersection become increasingly synthetic.






Wednesday, July 06, 2016

Summer Vacation?

Farewell, Hudson River, on a balmy NY night.

Stonehouse wrote, "We blossom and fade like flowers/

We gather and part like clouds/

earthly thoughts I forgot long ago/withering away on a mountain peak."
From the Zen Works of Stonehouse, Poems and Talks of a 14th century Chinese Hermit, translated by Red Pine.
Image: Japanese ink painting, Museum of Contemporary Art, St. Petersburg
"

But here in Paradise it's not poured but blooming:
Screenshot from Change.org petition to Publix re: no sugar product purchase

"Below high cliffs
unaware of the source
wherever you turn is karma
chaos and confusion
in order to see the truth/look beyond your senses
it's always been this way/the spring flows all around you."

"Below high cliffs
serene in solitude
not visited by time
the mind creates the world
the window holds a setting moon
the stove contains a dying fire
pity the sleeping man
startled from his butterfly dream."

"Below high cliffs
you eat and sleep your fill
indulge desire and lethargy
idle away the months and years
until old age and illness arrive
and a thousand pains afflict you
digging a well when you're thirsty
you endure heat in vain."

Friday, June 17, 2016

Chelsea Pattern and Joanne Greenbaum

Joanne Greenbaum at Rachel Uffner.
Gallery website
For great information, her interview with Phong Bui:
Brooklyn Rail Interview
In a previous post about Mira Schor's exhibition I'd mentionedt aporia, which happens in Greenbaum's work as well. She's not looking to conclude. It's hard to leave a canvas, but she can really do it.

Surface






Joanne Greenbaum
Jocelyn Hobbie at Fredricks Freiser.
Gallery website
I've followed this work for years and it is great to see again. So cheesy and relentless in its quest for a perfect surface.
The way she handles sheer black material is inspiring.

The full image for the detail below: a cat painting! Posters by Ron Nagle...the 1980s so powerfully revived.
Abrupt change / Marcia Hafif.
Marcia Hafif at Fergus McCaffrey, in a knockout show of Italian paintings from her 8-year sabbatical there.
Gallery website
This was a good sized painting, about 48 x 48

Thin color on light, almost muslin surface with maximum reverberation - not so much in the heat of the color but the fragile balance of elements.
Standing straight in front of this painting had the strangest physical effect, as if a portrait.
Marcia Hafif, Italian paintings

A stunning show by Lee Mullican at James Cohan (Chelsea).
Gallery Website
He places color on the tip of a pallete knife and notches, notches, notches.
My favorite. But they were all good, the abstracted ones. Painstakingly made. Gorgeous paintings.
Detail 
The works are inspired by the artist's pre-Columbian and Native American artifacts, such as kachina dolls, Zuni wood carvings, Sious pictographs, Navajo rugs and Rio Grande blankets, according to the press release. 
The works were made between the late 1950s and the 1960s.
The paintings astonish. 
They're big, and the accretion of marks gains real power.


Lee Mullican: 1919-1998.
Juan Usle at Cheim Reid. Gallery website
Small Usles, showing the thinned material (pigment, dispersion) and methodical application
Translucent color, thinly applied in rhythmic patterns tied to his pulse, according to the press release.
An uncharacteristic work. 
Stephen Westfall's Crispy Fugue State at Lennon, Weinberg.
Gallery Link
Loved these. The color was cold, dead--and then it wasn't.
So much slippage in reliable shapes.


Solidly painted - one wouldn't expect such magic to happen.
But it does.
Asya Geisberg: Elysian Redux! From press release: "a vast no man's land of 80s' design minutia." Leah Guadagnoli, whose work I've seen in a solo show on the LES at 247365. I believe the horse is a digital print by Ad Minolti.
Shane Walsh and Ben Sanders' wonderful vases.
Curated by Holly Jarrett.
Gallery website
Digital print by Ben Saunders and Josh Schaebel in the back room
Mike Kelley, detail from the shaped paintings on view at Skarstedt.
Gallery website



Oh Mike Kelley.
You are missed.

Detail of below.
Mike Kelley.
Lovely paintings at Makebish on 10th Avenue by Randy Bloom. Thanks Anne Russinof of Gallery Travels for the tip.
Gallery website
Big, crusty, knowledgeable paintings