Paint, Film, Thread: Three Current Shows

By Nina Meledandri

All Photos courtesy of Nina Meledandri

 

Louise Bourgeois, Sutures, 1993, Mixed Media

When an exhibition feeds you, enlightens you, or centers you, it remains with you. Each of the three shows below resonate with me for very different reasons and collectively they create a rich and thought provoking reminder of why we look at art.

Sutures at Mark Straus Gallery presents works which rely in some way on fabric, thread, weaving and/or sewing. The title is shared with one of the show’s focal points: a Louise Bourgeois sculpture, that is itself worth the visit. Continue reading “Paint, Film, Thread: Three Current Shows”

Katya Grokhovsky’s Rigorous Play

Katya Grokhovsky‘s performances and sculptural works embody raw energy fueled by her rigorous and uncompromising process. Grokhovsky’s work is  extreme, fearless, cohesive, and ambitious. With great agility she combines media like performance, video, drawing, and sculpture to create immersive environments that delve us deep into a chaotic unknown – the complexity of self, the duplicity of social norms, the twilight  zones of life and art. In this interview for Art Spiel Grokhovsky elaborates on her impetus, ideas, and projects as a prolific artist and curator.

Katya Grokhovsky,Bad Woman, 2017, video still

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A Visit With Linda Schmidt

By Catherine Kirkpatrick

All Photos by Catherine Kirkpatrick

Just as it is hard to look at certain Matisse paintings and not feel the radiant sun of the Cote d’Azur, it is hard to see a piece by Linda Schmidt and not imagine a beautiful light-filled space. Recently she invited me to her studio that looks out over the low industrial rooftops of Bushwick, and seems, even on overcast days to be bright and filled with serenity.

Linda Schmidt working on a canvas

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Melissa Stern – Walking the Line

Melissa Stern‘s artworks depict abstracted narratives with complex emotional layers,  projecting altogether an urgent psychological presence. The figures  in her drawings and sculptures inhabit an absurd universe which is  darkly funny  in a deeply felt way. Her imagery is precise, poetic,  and overall underscores  a close affinity with language – bringing to mind an artist who is both an acute observer and a witty commentator.  That said, it is Stern’s sensibility of raw and expressive forms that makes her not only an observant narrator but also  an empathetic participant in her own human comedy. The artist  shares with Art Spiel her modes of thinking, process of making, and some plans, including her solo show opening on Oct 11 at Garvey Simon Gallery.

Melissa Stern, Red Boots 30 x 8 x 10 inches, Clay, graphite, object, linoleum, 2016

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Wild World closing at Cross Contemporary Art

Wild World: Ashley GARRETT, Catherine HOWE and Lily PRINCE, the current painting exhibition at at Cross Contemporary Art  opened on Sat. September 8th. On Sunday, September 30th Richard Klin will be reading from his novel, Petroleum Transfer Engineer, at the Cross Contemporary Gallery in Saugerties, NY  at 4:00 PM. Klin is also the author of two nonfiction books.  Klin’s work–fiction and nonfiction–has been featured on Public Radio International’s Studio 360 and has appeared in the Brooklyn Rail, the Atlantic, the ForwardFlyover Country ReviewAdelaide, NPR’s All Things Considered and others.

Ashley Garrett, Sossusvlei,  2017,  oil on canvas

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Anne Gilman: Marking Beneath the Surface

Anne Gilman, Up close / in the distance / now, 2018, pencil, graphite, tape, ink, BIC ballpoint pen, matte medium on mulberry paper, 340 x 38 inches, photo courtesy of the artist

The surface of Anne Gilman’s scrolls and drawings is characterized by incisive and often repetitive graphic marks which altogether create portals to the artist’s fluid emotive states.  In her Interview for Art Spiel, Gilman reflects on the roots of her intricate process-oriented approach and also sheds light on some of her current projects. Continue reading “Anne Gilman: Marking Beneath the Surface”

Size Matters

Chris Ketchie, “WEST”1000 Paintings of Then, 2015-2017 Ink and Acrylic on Wood, 130” x 275” x 2.5”, photo courtesy of the artist

In Size Matters artist and curator William Norton brings together seventeen visual artists and four performance artists from Japan, China, the USA, and the UAE, for whom the notion of scale is central.  The curator questions in what ways does scale impact form? How does it affect meaning? And more specifically, how is our perception of scale affected by cultural differences between Asian and Western cultures? Continue reading “Size Matters”

Shari Mendelson: The Beauty of Objects Left Behind

First Look: Shari Mendelson: Glasslike at UrbanGlass

Shari Mendelson, Walking Animal with Vessel in Net, 12″ x 6″ x 9″, Repurposed plastic, hot glue, acrylic polymer, metal, resin, paint, mica, 2018, photo credit: Polite Photographic

The glasslike sculptures in Shari Mendelson’s current exhibition at UrbanGlass conjure mythical narrative with an urgent sense of the present. Based on rigorous study, the artist draws upon primarily glass artifacts from ancient Rome and early Islam, to form imaginative, witty, and playful sculptures made of throwaway plastic bottles. While avoiding simple mimicking of ancient artifacts, Mendelson’s vases, urns, animals, and figures alike create forms and forge narratives that link present to past in fresh and multilayered ways, as the show curator Elizabeth Essner puts it – “the previous lives of her [Mendelson’s] materials emerge: the bottoms of bottles are reborn as faceted ornament, a milk jug becomes an animal, the visage of a figure appears, formed from the tiniest bits of plastic.” Continue reading “Shari Mendelson: The Beauty of Objects Left Behind”

Susan Carr – Getting Used to Being Uncomfortable

Susan Carr creates playful and bold paintings, sculptures, and everything in between – all characterized by her thick, chunky, and layered painting application. Carr’s work comes from a deep and highly intuitive place, always guided by her vibrant curiosity. The artist shares with Art Spiel what brought her to art,  some of her thought process,  and  exploratory approach to material and form.

Susan Carr, Piece of Pi, 2018, hand cut wood with silk over the wood and yarn painted in oil with pieces of wood painted in oil 7×10 inch, photo courtesy of the artist

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