Etty Yaniv works on her art, art writing and curatorial projects in Brooklyn. She holds BA in Psychology and English Literature from Tel Aviv University, BFA from Parsons School of Design, and MFA from SUNY Purchase. In her installation work She is integrating mediums such as drawing, photography and painting to form three dimensional immersive environments. More info at: www.ettyyanivstudio.com
Tiffany Mangulabnan (dancer) and Etty Yaniv (art) in ‘briefly gorgeous’, CounterPointe10 performance, 2023
DANCE
The impetus for this series of conversations between a visual artist and a choreographer comes directly from my recent collaborative work with a choreographer as part of Norte Maar’s CounterPointe10. In this unique project a choreographer is paired with a visual artist to create together over two months a dance performance that integrates the two disciplines into a cohesive vision. Here is my dialogue with choreographer and dancer Tiffany Mangulabnan about our collaborative process.
Rafael Delacruz, Don’t sleep while we explain, 2022, oil and cochineal on canvas, photo courtesy @ Mitchell-Innes & Nash
Neither the exhibition text nor the online imagery, although both generous, adequately primed me for Rafael Delacruz’s spellbinding painting exhibition at Mitchell-Innes & Nash. The moment I stepped into the gallery, I was engulfed in a world with vibrant enigmatic narratives, layered as a fusion of drawing, lino-cut-like marks, and a kaleidoscope of restless patterns, all shimmering under the play of vivid paint. The paintings reveal recognizable elements like cars or figures while hiding drawings underneath, daring us to embark on a delightful game of artistic hide and seek.
Giulia Faria and Mónica Lima in Sideslip, Photo taken by Marcy Rosenblat
The impetus for this series of conversations between a visual artist and a choreographer comes directly from my recent collaborative work with a choreographer as part of Norte Maar’s CounterPointe10. In this unique project a choreographer is paired with a visual artist to create together over two months a dance performance that integrates the two disciplines into a cohesive vision. Here is the conversation between artist Marcy Rosenblat and Choreographer Amanda Treiber.
The riveting debut exhibition at Andrew Edlin showcases George Widener’s profound fascination with historical catastrophes, particularly the tragic sinking of the Titanic in 1912. The artworks on the wall, made of patched-together napkins and tea-stained scrolls, bear the marks of accidents, palimpsests, and esoteric knowledge, reminiscent of ancient manuscripts and enveloped in an aura of mystery. The elaborate numerical puzzles, complex wordplay, and prophetic visions informed by historical events become data landscapes that the viewer explores alongside the artist.
Installation view, Jim Condron: Collected Things at Art Cake, photo courtesy of Etty Yaniv
Collected Things, Jim Condron’s terrific solo exhibition at Art Cake in Brooklyn prompts us to question our relationship with the objects we interact with—objects that we use, discard, and transform through memory and art process. At the heart of this exhibition are Condron’s recent series of sculptures, which brings together everyday objects and ephemeral materials he has collected from artists, writers, and thinkers who participated in the project—these individuals include personal acquaintances like Graham Nickson, Lucy Sante, Rebecca Hoffberger, Carl E. Hazlewood and Cordy Ryman. Among them is the pioneering painter Grace Hartigan, who was Condron’s teacher and for whom he also worked as a graduate assistant in 2004, four years before her death. This body of work highlights how Condron’s process of collecting, editing, and adding other materials, activates the lineage and history of everyday objects, transforming them into playful art objects with renewed vitality and psychological presence.
From its founding in 2009 by Maddy Rosenberg, CENTRAL BOOKING has focused on the exploration between art and science with emphasis on aspects of the environment and social justice issues. In many collaborative projects with organizations such as the New York Academy of Medicine and the Brooklyn Botanic Garden, artists researched their work in the collections, libraries and grounds of these institutions and exhibited the resulting work in several venues. Rosenberg says that after years of living along the Brooklyn waterfront of Buttermilk Channel and incorporating the imagery into her own work, she sensed it was time to take a deeper dive into the ecosystems of the Brooklyn waterfront and the last surviving section of functioning port within New York City’s boundaries. The life along the harbor integrates the wildlife, land and neighborhoods of human-made architectural elements seemed to her like “a perfect barometer for exploring climate change”. A collaboration with the New-York Historical Society was a natural step, as their collections preserve many of the earlier roots along the way to the transformations we live with today. Rosenberg says that in addition, by forging partnerships with other area organizations such as Kentler International Drawing Space, Pioneer Works and the RETI Center, the project became truly emblematic of the Brooklyn Waterfront.
Julia and Jason with “art dog” Fern producing Norte Maar’s Dance At Socrates Residency and Performance Series in collaboration with Socrates Sculpture Park. Photo: Michelle Hernandez
The impetus for this series of conversations between a visual artist and a choreographer comes directly from my recent collaborative work with a choreographer as part of Norte Maar’s CounterPointe10. In this unique project a choreographer is paired with a visual artist to create together over two months a dance performance that integrates the two disciplines into a cohesive vision. We start here with an introductory conversation between the founders and directors: Julia K. Gleich and Jason Andrew.
Dana Yoeli in her Tel Aviv studio, 2022, photo by Roni Cnaani
In her installations, sculptures, and drawings, the Tel Aviv based artist, Dana Yoeli, digs into collective and biographical memories, to create multi-layered environments which prompt us to discover a rich array of interconnected references—from theater and cinema to history, place, and architecture. In Yoeli’s visual universe the “I”, “we”, and “they” entangle to form a new entity, offering us complex shifting perspectives.
David Dempewolf, imago 02 (bird’s eye self portrait), 2013 aqueous media and wax pencil on paper, 10” X 14”, courtesy of artist
Most artists’ studios give us a glimpse into their thought and work process but wandering through David Dempewolf’s studio gives more than a glimpse. It is an experience of entering a wonderous world— a hidden niche reveals a station for experimental animation, a corner serves as a station for wood printmaking, a quaint staircase to a small attic leads to imaginative series of drawings, and a “peephole” in a wall further guides our gaze below, to Marginal Utility, the non-for-profit gallery space he runs with his partner and spouse Yuka Yokoyam. It feels like entering a Borgeisan world where the artist’s thoughts and the endless possibilities of “cataloging” entangle and materialize into a new entity in a tangible space.
Paintings are the products of imagination whose language is feeling and form. My paintings describe an interior theatre where the relationship of energy to limitation unfolds in a drama that is primarily optical. The work references the natural world filtered through the lens of the marvelous and invites the viewers’ participation and interpretation…. a task ideally suited to painting.
