|A first stop: Debra Ramsay at Odetta. Gallery Link.|
This painting, applied with Ramsay's beloved tools on duralar and plexi, glows and shifts under the natural light.
Systems are the subtext for this post. Ramsay's process demands many steps, reducing perception to systems that distance her from decisions when making.
|Seen in context.|
|Part of an installation comprised of three platforms upon which strips of color and light spill over, created from repeated walks in the same location as the seasons turn.|
|Distilling 18 separate hues from her walks, Ramsay conflates time into color.|
|Deux Côtés/Two Sides at Stephanie Theodore in collaboration with Galerie Jean Fournier, Paris|
Left to Right: Pierre Mabille, whose subtle colorations have been shown at Bleu Acier in Tampa and the Fine Art Museum in St. Petersburg, FL, Christophe Robe, whose small drawing shares superficial affinities with Carroll Dunham's, a celestial ceramic orb by Joyce Robins, and a lovely Sharon Butler painting. Butler's daily instagram diagram drawings in combination with her new paintings reveal a fascinating substantiation of material that rewards both digital and hand applications.
|Dominique De Beir's odd paint, wax and polysteyrene Altérations.|
|Most striking about this show was the elegant combination of works.|
Mabille, De Beir, Frédérique Lucien Feuille
|Across the hall at Honey Ramka, Plot Points, a botanical show.|
Loved these architectural breakdowns of flowers.
|Details from the always wonderful Amy Lincoln.|
|Caroline Larsen, foreground. Not sure who is in back but charming textile floral patterns.|
|Reminiscent of John Dilg's compositions with a tourist attraction poster type design circa 1940s|
Two boisterous group shows following:
Cup of Sugar at Lorimoto
Where Linnea Paskow's lily pads and travelogue collages and Ben Pritchard's lustrously surfaced paintings caught my attention in a wonderful compendium of friends and colleagues' works;
at Outlet, curated by Julian A. Jimarez Howard,
where I could not get enough of Kat JK Lee's video installation about floating pods or Jen Hitching's strange, dotted paintings.
And then to Stout Projects, featuring works by Matthew Neil Gehring, whose work is new to me.
This curious, handsome show combined visual applications of color. The striping of the edges in the paintings against the iridescent grounds and the luscious, wet on wet swirls was exciting and blunt. The premise of the show links painting with sound, which I did not know viewing the work, and that explains how I couldn't find my way into the logic ~ the musical idea opens another door, starts to make sense with how the paintings are composed and made conceptually.
After Stout Projects, two more exhibitions, both wonderful, in DUMBO.
The first does not have a site, so this information is lifted from artcritical.com's Listings section:
Last but not least the amazing Leslie Roberts, whose complex and idiosyncratic grids at Minus Space deserve serious attention for their unique, exacting logic and elegant facture on sometimes grubby, marble-dusted panel surfaces. She creates different systems for her daily experiences, from assigning color to subway signage to areas of town to people's names. Her wit, her touch, scale, palette, are specific and pointed. It was a wonderful shock to see so much great work by this artist.