Christine Hiebert's Restless, new drawings at Victoria Munroe
In their precise notations of space and use of crayon and pastel, Hiebert's drawings summon Gorky's Virginia drawings of 1946. In both bodies of work a sense of place combines with a private language. Link to Gorky's Virginia drawings here.
A personal favorite. In the brochure-catalog, Hiebert speaks of watery horizontals played against dry verticals to push a structure as far as it will go.
Untitled, 2018, crayon, pastel, blue tape on paper, 40 x 26 inches
Untitled (chg.21.3), charcoal on paper, 47-3/4 x 32 inches
Lynda Benglis: Pleasted Works at Mnuchin.
Metallic pleats created 1982 through the 1990s.
The shadow play is a form of drawing in itself.
According to the gallery press release the forms are inspired by the fluted and fan motifs of Agean columns at the Louvre, which refer to the artist's Greek heritage.
"A vaporized metal such as zinc, aluminum, or copper would subsequently be sprayed over the folded mesh, creating a shell-like surface that is finally polished, although the crevices between each pleat evade that polishing, creating a contrast which accentuates the texture, volume, and varying effects of light of each sculpture."
“'The metallizing technique is particularly suited to Benglis’s interest in transforming states of matter, in organic processes and in the comparisons of hard/soft and liquid/solid that continue throughout her work,” art historian Susan Krane has aptly stated."
Sound emitting from shadow. The fugitive movement of light upon form.
Sculptor Ron Baron and painter Sarah Walker in a serendipitous pairing at John Molloy.
Baron's densely collaged works become dimensional diaries of a time, place, or feeling.
Thought forms in the round, materially realized.
Small glaze paintings surface among textures and collage.
Sarah Walke's lovely Conditions and Adaptations III, 2021
Acrylic on paper, 20 x 21 inches. The artist adds volume to the top layers in her psychological worlds.
The substance of paint--scratched, fresh, dripped--richochets between the surface and shallow depth. Chronophage IV, 2021, 12 x 12 inches
Olive Ayhens's Transformations of Place at Bookstein Projects
Two epic paintings and a spate of lovely watercolors painted in the artist's Brooklyn studio and her West Village apartment.
Uptown view from her apartment window, where she observes goings on across the street.
Jamboree, 2021, oil on linen, 51 x 63, a meditation on overpopulation and architecture and a summary of the artist's pandemic year.
Photo-based and invented characters combine in her crowd scene.
Olive Ayhens with an apartment view at night.
Her landscapes are both accurate and inventive.