Thursday, January 14, 2021

Deborah Brown in Two Coats of Paint

 It has been a long time since posting, so here is a recent online interview with Debbie Brown posted in Two Coats of Paint in December, 2020. Link to it here:

 https://www.twocoatsofpaint.com/2020/12/interview-stalking-deborah-browns-paintings.html

Deborah Brown, Ginko, 2020, oil on canvas, 60 x 48 inches


Her solo exhibition 
Things as They are is on through February 13th, 2021 at Anna Zorina Gallery. Preview, and hasten!

Deborah Brown: Things as they are (through 02/13/21)

Since this interview her work has exploded, touching on transition, loss, love, home, and decor. 

Happy 2021 fellow travelers! May it be a good year for art, artists, everyone, and every thing.

Tuesday, March 17, 2020

Youth Speaks: Joan Mitchell Foundation Young Artist Council

In some ways, the current sequestration provides ideal conditions for art. We inhabit a slower, more private world, allowing deeper connection to the limited information surrounding us. It is a good time to revisit an exhibition I saw last fall at the JMF featuring their outreach program for young artists, no longer extant: Early Practitioners Artist Council Link
And for more information, introducing the artists themselves: JMF_2019-early-art-practitioners_Link
The above is from a series of riffs of vaginal imagery on mailing labels presented in a vitrine by Manhoor Sheikh. 
This fountain, and the painting beneath it, are by Lily Fei, who explores relationships from a feminist perspective.

Duneska Suannette's Te Pareses Negra Asi, 2019, video, gouache, bristol paper, 59 x 76 inches, speaks to the cultural desire to lighten, or whiten skin tone/cultural mores in the Dominican Republic. The title translates to, "You look black like that" a comment made about the artist's braided hair. Suannette considers the origins of this micro-agression in violent massacres such as the Parsley Massacre in Haiti, 1937 when migrants who could not pronounce the word for parsley were exterminated. 
Audreamia Ardlow's wonderful meditation on *Bodega People* in The Lite,  2019, plaster, 20 x 20 inches.  The artist defines bodega people as "a tribe derived from the Nueva York concrete jungle, born with resilience and creativity. "I bridge the gap between my physical and spiritual self by transforming consumable materials into objects of connection and contemplation." The Lite is a dance movement in the mid-2000s that settled disputes nonviolently.
In Nicole Adames' A Presumed Mind, 2019, mixed media, felted wool, embroidery, 46 x 46 inches, embroidery provides pathways through enclosed spaces.
Detail

Alannah Sears' tactile meditations on familial and environmental relationships.
Jah'China de Leon's Gutter Flume, 2019, digital illustration printed on fabric, 8 x 4 feet. A consideration of water's power through the term Gutter flume: to plunge into rain water surged with power. 

Saturday, March 14, 2020

Last Run Before Close

Kyle Staver's American Woman at Galerie Zurcher.
I love this painting so much I stare it at all the time. Kyle Staver at Galerie Zurcher, opened this week. Site has not posted images as of this writing. See more as you scroll down.
Staver makes drawings, dimensional ceramic studies, and small versions for large narrative oil paintings that update female mythology from a feminist perspective. Will update link as information comes clear. Go see the show. It's fabulous.







Gelah Penn, Mistress of Grey, in Uneasy Terms, her solo at Undercurrent Gallery  Link
The conceit for the show are visual 'letters' comprised of discarded exhibition announcements, clarifying Penn's penchant for upcycling fragments of discarded materials.

Combining images of her new studio in Connecticut with the materials via stapling, grommeting and sewing shows increasing affinity with work by another New York mid-career artist, Elana Herzog.
Semi-transparent fragments of mylar,

Trash bags,

and the cards unfurl across a Gunsmoke-painted wall.

Large, pieced figures flank the room.

The materials are so common and simple, but the effect is magical.
Jude Tallichet's miraculous, life-size casting of a fire escape is brilliant. See her show Heat Map at Smack Mellon, with beautiful video by Summer McCorkle in back. Gallery Link
Jodie Manisavet at Cathouse Proper. My very favorite snow painting by her. Gallery Link
(Cathouse Proper is the current incarnation of Cornell graduate David Dixon's collaborative Cathouse FUNeral.)
Pastel drawings by Manasevit. 



Two oil paintings. Mind the exhibition title, "What More to Say Than to See."
The yellow in this is more of a cadmium yellow dark, with orange hue. Try as I might, I couldn't get it. 
Melanie Vote in her solo The Washhouse: Nothing Ever Happened Here, at Equity Gallery. Gallery Link
The painter places trompe l'oeil works in combination on the scale of a building.





The show pays tribute to a Carl Sandburg poem, Grass, which speculates on the history of place--what happened in seemingly innocuous spaces, now abandoned but once rich with incident.
Bringing us to our landscape now. Cherish this world.

Friday, March 06, 2020

Words Cannot Say: New and Recently Closed Exhibitions



Allison Schulnick, from her solo exhibition Hatch at PPOW. Gallery Link 




Dan Walsh at Paula Cooper. Link


Tom McGlynn, back room pink painting, front room solo, At Present, Rick Wester Fine Art. Gallery Link 

Philip Pearlstein, Nudes and Other Landscapes, at Betty Cunningham. Gallery Link


Daniel Rios Rodriguez at Nicelle Beuchene. Gallery Link



Danielle Orchard at Jack Hanley. Gallery Link

Michelle Segre and Julia Bland at Derek Eller . Gallery Link

Julia Bland
Heidi Hahn's solo Folded Venus/Pomaded Sweater at Nathalie Karg. Gallery Link



Jane South at Spencer Brownstone. Gallery Link








Ellen Berkenblit at Anton Kern.Gallery Link




Upstairs, Nicole Eisenman in collaboration with Dieu Donne in Incelesbian. Gallery Link 







Heidi Johnson at 527 Madison Lobby Gallery. Gallery Link



Salvo at Gladstone 64. Gallery Link