Amulets Ethereal at Barney Savage

Amulets Ethereal, partial installation view, photo courtesy of Barney Savage gallery

“Amulets Ethereal,” the thought provoking group exhibition curated by Jenny Mushkin Goldman at Barney Savage features works by Kharis Kennedy, Adam Krueger & Tableaux VivantsVictoria Manganiello & Julian Goldman, Qinza Najm, Cheryl R. Riley, and Ashley Zelinskie. The artworks in this show run the gamut from manipulated found objects, like Cheryl Riley’s old farm tools and Qinza Najm’s carpet, to fabricated sculptures like Ashley Zelinskie’s 3-d printed futuristic cyborgs and Victoria Manganiello / Julian Goldman’s computerized weaving; from wearable art like the sewn tattooed silicon mask by the duo  Adam Krueger and Tableaux Vivants to Kharis Kennedy’s mysterious painting of a masked figure with a goat. Collectively the artworks are recontextualized as open-ended ritualized objects and images endowed with the questionable power to shield the viewer from the most tenuous of perceived dangers. Continue reading “Amulets Ethereal at Barney Savage”

Trish Tillman – Souvenirs of a Moment

Trish Tillman, Afterschool Locker, 2017, Hand-printed vinyl, wood, metal, horsehair, resin, 66” x 37” x 6”, photo by Ethan Browning

Trish Tillman flirts with materials. She fuses in her sculptures  elements of fashion and interior décor like leather, vinyl, studs, ropes, and chains,  to create  art objects which are often both humorous and enigmatic. While her sculptures bring to mind  old relics, early symbols,  or mysterious calligraphic forms, they also embody the allure of faux luxury.  Continue reading “Trish Tillman – Souvenirs of a Moment”

 Helen O’ Leary: No Place for Certainty

Helen O’Leary, installation view of Home is a foreign country, 2018, photo courtesy of Lesley Heller by Eva O’Leary

Helen O’Leary‘s sculptural paintings are delicate and rough, subtle and raw, literal and metaphoric – they embrace and prick the viewer at the same time. Her current exhibition Home is a foreign country at Leslie Heller indicates not only clear incisiveness and impressive mastery of form, but also a deep generosity- sharing with the viewer her rigorous process of  grappling with material: visible jointing, disjointing, bending, folding,  knitting. She says that somewhere through the struggle some magic happens. And magic does happen in her artwork. Continue reading ” Helen O’ Leary: No Place for Certainty”

Aspects in Landscape at Galerie Protégé

Murphy Chang, GRANT, 4x6in, 2017, carbon on paper
Murphy Chang, GRANT, 4x6in, 2017, carbon on paper

All photos courtesy by the artists

“Aspects in Landscape”, curated by  Stacy Greene at Galerie Protégé, juxtaposes the work of six artists whose interpretations of landscape range in sensibilities – from sensory to surreal and media. It runs the gamut from two dimensional artworks like drawing, painting, and photography, to sculptural installations. Continue reading “Aspects in Landscape at Galerie Protégé”

James Castle: People, Places & Things at the NY Studio School

James Castle (1899-1977), Untitled (drive-through tree), n.d. Found paper, soot, 5 7/8 x 7 3/4 in. CAS09-0179 © 2008 James Castle Collection and Archive LP, All Rights Reserved
James Castle (1899-1977), Untitled (drive-through tree), n.d. Found paper, soot, 5 7/8 x 7 3/4 in. CAS09-0179
© 2008 James Castle Collection and Archive LP, All Rights Reserved

The exhibition James Castle: People, Places & Things, curated by Karen Wilkin and currently on view at the New York Studio School Gallery, features over fifty important works and ephemera, surveying Castle’s diverse modes of working. It runs the gamut from his well-known drawings of farmyards and interiors to the less familiar depictions of house, machines, clothing, and people, to his books and objects. It includes even more rarely exhibited objects – some sources for his imagery borrowed from the James Castle Collection and Archive LP and from the William Louis-Dreyfus Foundation. In her curatorial statement Wilkin says she aims to affirm why Castle should be regarded as an American master. Indeed, the breadth of his work is jaw dropping and the emotional resonance is deeply moving.

Continue reading “James Castle: People, Places & Things at the NY Studio School”