The Green Door gallery was created at the Divine Mercy Cultural Center to foster a sense of community in the Williamsburg neighborhood. The venue was initiated by Father Thomas Vassalotti, who, along with Father Paul Anel of Heart’s Home, reached out to the artist and curator Elisa Jensen with the wish to connect to the many artists in the neighborhood.
Concern with Climate Change and how it impinges on our planet links the five artists featured in the impressive sculpture show at David&Schweitzer. Running the gamut from minimalist to narrative sensibilities and from found objects to fabricated materials, the sculptures created by Ruth Hardinger, Babs Reingold, Rebecca Smith, Kelin Perry, and Christy Rupp, engage the space in juxtaposition to one another – visually situating the overall exhibition at the intersection of natural history and archaeological excavation, thematically layered and at times poetic. The artworks in the show refer to the underground, trees, atmosphere, underwater, and animals- each of the individual parts that is essential for life on Earth.Continue reading “Planet Ax4+1 at David&Schweitzer Contemporary”
Art Ravels: Arts and Culture Unwound is an eloquent and well curated blog focused on contemporary visual art by Linnea West
In 1582, four recent converts to Christianity were sent from their home in Japan to Europe and the papal court by the Jesuit mission in Japan, as evidence of its success. Called the Tenshō embassy, the four boys met the Pope and saw the great sites of Renaissance Europe before returning home eight years later. Contemporary Tokyo-born, New York-based artist Hiroshi Sugimoto came across the story of the Tenshō embassy while he himself was photographing in Italy. Continue reading “Outside of Time: Hiroshi Sugimoto at Japan Society”
Underdonk started in 2013 as a small experimental project space and later evolved into a vibrant artist-run gallery located at 1329 Willoughby. Underdonk’s eleven members operate an ambitious exhibition program such as the notable 2015 exhibition “Paul Klee,” which featured work by twenty contemporary artists who referenced the 20th century modernist master. Continue reading “Underdonk, A Community Fixture”
Typically, crowded openings are not an ideal setting for experiencing the artwork on display. Nevertheless, the current show at Storefront Ten Eyck, featuring Elise Siegel’s ceramic busts paired with Mie Yim’s abstracted figure paintings, thrives in a crowded space. As in a theatrical experience or a ritual ceremony, the visitors’ presence enhances the psychological tension that these artworks emit.
Suspended murky waterdrops on the verge of dripping from an icicle onto a sheet of paper prove to be almost hypnotic in Kurt Steger’s interactive project at ArtHelix. Utilizing elegant wooden contraptions made of a rotating large-scale low wooden table, a transportable tall crane-like sculpture, and a few low benches, Steger’s participatory performance evokes a genuine urge to behold the genesis of a fresh mark, from the first drip to the final circular tracing. The resulting drip drawings hang on the walls, mostly depicting circular forms that range from dark sepias to vibrant yellows and rusty oranges. Continue reading “A Genuine Urge to Behold: ‘Meltdown’ by Kurt Steger”
In response to Arshile Gorky’s colored drawings exhibition, an ARTnewsreviewer back in March 1947 declared that Gorky is in no sense a draftsman and that his drawings “must be appraised as doodlings, for psychological rather than formal interest.” More than sixty years later, an exquisite Gorky drawing from 1946 on loan to Outlet gallery, serves as a starting point for a vibrant dialogue between more than thirty contemporary artists with strong and distinct personal iconography and some shared formal concerns. Continue reading “Dialogue between Art and Life: suggestion, that is the dream”
Charged with urgency, precision and an acute sense of place, Tirtzah Bassel’s luminous oil paintings at Slag capture figures lingering in uncannily familiar public spaces. Whether the subject matter of these canvases are crowds, couples, or single figures, the related verbs are of present continuous tense; standing, sitting, resting. These paintings, waiting in line at Trader Joe’s, sitting on an Ikea sofa to check a text message, or stretching horizontally on a bare mattress in the bedroom section, all entail the action in non-action. Although the commercial spaces these figures populate are filled with utilitarian objects such as red (and empty) shopping carts and a row of colorful sofas or beds, these interiors convey a strong sense of void. Objects multiply, proliferate and are caught along with their creators at the same space in an odd symbiosis. Continue reading “An Odd Symbiosis: Action in Non-Action”
Sue McNally’s whimsical series of self-portraits at Auxiliary Projectsresemble pages from a carefully edited diary. Deeply personal, humorous and honest, most of these drawings depict a frontal view of the artist in various states of mind. Caricature-like with sometimes darker undertones, her drawings reveal a no fuss look at aging, femininity and change. Continue reading “Middle Ass Bad Age”