Saturday, September 21, 2019

Out and About

Huang Hai-Hsin's Blondes, 2018, 40.25 x 50 inches at Eli Klein, Paintings from Taiwan.Gallery Link 
Liu Chi-Hung's Lintou, 2018, 27.5 x 39.3/8 inches. This painting shows the lively attention in brushwork endemic to a calligrapher.
This show was reviewed by John Yau in Hyperallergic, but I dare not read it, or it may impact my post. Here's the link for you: Hyperallergic Review by John Yau

Hsiao Chin's Due Universi, 2004, approx. 55 x 43 inches. 
Yang Mao-Lin's Wanderers of the Abyssal Darkness. Crestfish L 1904, from this year. 85 x 57 inches. Worlds within worlds...
Su Wong-Chen's Chinese Valentines Day, 2017. Such delicacy inside the movement of paint : true in most of the works on view.

Chou Tai-Chun's Bck to Pandora, 2017, acrylic on canvas grommeted to the wall--a dynamic composition  celebrating the tension between internal and external forces.

Hu Chau-Tsung's Home -Private Island, 2015, and

Hu Chau-Tsung's Progressing-4, 2018. Hu seems to speak to a mediated landscape of his own invention, collapsing memories and images in ways they are actually remembered. The landscapes are also wild and civilized, collapsing the epic terrains of scroll painting into camera-ready views.

Quick takes from You are So Loved and Lovely at Fridman Gallery: Here, Wura-Natasha Ogunji's  Lagoon, 19.5 x 24 inches, embroidery, ink, graphite on tracing paper. Gallery Link

ruby onyinyechi amanze, detail, at the same time or in coexistence with, 2019, ink graphite, photo transfers, metallic enamel, 31.5 x 55 inches the whole drawing.

Ridley Howard, from Light Paintings at Marinaro Gallery. Gallery Link

Billed as paintings that "navigate a space between American scene painting, cinema, poster design, and graphic abstraction," these works summon the Patrick Nagle 1980s with stunning artificiality.  
The surfaces are delicate, edges soft, and paint creamy to belie the graphic shapes.
My LA childhood embraces these simultaneously shallow and withdrawn images, essentially dreaming machines. 
Space for projection.
This morning, Debra Jenks told me about the William Pope L's crawl, entitled Conquest.
Volunteers representing a cross-section of New York were chosen by the artist to execute a crawl across the city, starting in the west village, moving through Washington Square Park, and ending up in Union Square.
As Pope L. took the stage, I began to reminisce about the crawls, and to project what the volunteers might encounter in their day. 

And at the time of posting, what was just beginning here has completed. This project was funded by Public Art Fund , in coordination with MoMA and the Whitney for Pope L's upcoming exhibitions.

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