Etty Yaniv – Page 43

February 7, 2019May 30, 2020

Re-Orientation at La Esquina Gallery

Carrying Herself as a Corpse (red), Samira Abbassy (2014) (oil on gesso panel), dyptych #2, image courtesy of the artist

The group show “Re-Orientations” at La Esquina in NYC features Samira Abbassy, Camille Eskell, Dhanashree Gdiyar, and Sheida Soleimani, 4 US based female artists who bring through figurative representation feminist perspectives rooted in the Near East and South Asia. The co-curators Natasha Stefanovic and Audra Lambert present these distinct feminist voices in context of “Orientalism,” the 1978 seminal and polemic book by renowned scholar Edward W. Said, a must read in Post-Colonial Culture Studies. Ranging formally from painting to embroidery, and thematically from identity to immigration, the images overall depict tragic and at times nostalgic moments rooted in the artists’ cultural background. Underscored with post-colonial sensibility, these intimate narratives humanize and defy the stereotype of what is “oriental.”

February 5, 2019February 11, 2019

Douglas Florian – Seeing Words

Douglas Florian, Beowolves, Oil on linen, triptych, 96″ X 95″ 2015-16

Douglas Florian‘s paintings resonate with hypnotic chants – repetitive texts or letters resemble spells or curses, a child’s scribbles, or ancient liturgical notes. His marks and vibrant pigments form altogether abstracted and rhythmic fields which entice you to take a close look, read, and simultaneously listen to your own inner voice. Douglas Florian shares with Art Spiel some background and ideas behind his work.

January 30, 2019February 1, 2019

Ashley Norwood Cooper – Grappling with Color of the Ordinary

Ashley Norwood Cooper, Deviled Eggs and Pink Cake, oil on panel, 16” x 20,” 2017, photo courtesy of the artist

Ashley Norwood Cooper is having a solo painting show at First Street Gallery in NYC. The show title, “The Likes of Us,” is taken from a line in “Waiting for Godot,” about the moon looking down on our ordinary lives. The first thing that caught my attention in Cooper’s work was the just right mix of raw quality and subtle sensibility to detail, depicting narratives that both intimate and universal. In this interview the artist talks about her process of painting from the imagination, her approach to color, and how she got to art.

January 24, 2019February 5, 2019

Rutland: Real and Imagined

Ric Kasini Kadour, The Modern Is The Way, photo courtesy of the artist

Photography is inherently effective at telling a story of place. Not only of documenting its history, but also possibly of predicting its future – projecting how a place is or is in the process of becoming. For the group show, “Rutland: Real and Imagined,” which opens in January 31, 2019 at The Alley Gallery in Rutland, Vermont, artist and curator Stephen Schaub brings together eight internationally recognized artists who interpret through their use of photography what constructs a sense of place. Altogether, the resulting photographic imagery in this exhibition creates an engaging story about Rutland – not as a single place but rather many places that come together in the minds and lives of the people who live there.

January 22, 2019May 6, 2019

Elisabeth Condon – Responding to Contingency

Elisabeth Condon, Plant Life, 2018, ink, acrylic on parchment, 144 x 32, photo Jim Reiman

Elisabeth Condon is a traveler in life and art. Her large scale scrolls, installations, and paintings entice the viewer to join her in adventurous excursions of new and imaginative landscapes. The artist’s innate sensibility for color, pattern, and form, ignited by an insatiable curiosity for cultural intersections, have resulted in an outstanding body of work. For Art Spiel, Elisabeth Condon sheds some light on her dynamic mode of visual quest, and on-going projects.

January 14, 2019January 14, 2019

Valerie Hegarty – Memory of a Place

In Valerie Hegarty’s work, autobiography, history, and art history merge seamlessly into engaging installations with a distinct sense of place – visceral and subtle, layered and focused. An inquisitive rigor runs through her work, stirring in the viewer an appetite for more. Valerie Hegarty shared with Art Spiel some thoughts on art making, her own art journey, and some of her upcoming projects.

Portrait of artist while working on “Alternative Histories” for the Brooklyn Museum Image courtesy of Brooklyn Museum

January 8, 2019January 31, 2019

Beth Dary – Near the Water’s Edge

Beth Dary, Elements of Ambivalence, 2006, fabric, pins, encaustic, 10’x17’x4″, photo courtesy of the artist

Beth Dary‘s sculptures, installations and drawings have in common deep layers of meaning, imaginative combinations of materials, and subtle delicacy in form and color. Her insatiable curiosity in exploring diverse materials and processes results in a wide array of formal expressions, ranging from ceramics to photography; fabric to glass. She shares with Art Spiel some insight into her work throughout the years, her process explorations, and her upcoming projects.

January 2, 2019January 2, 2019

Elena Soterakis – Intersecting Sci-Art

Elena Soterakis is an artist and curator who has explored the intersection between art and science throughout her whole artistic practice. She shares with Art Spiel some background on BioBAT Art Space, her upcoming curatorial project with Jeannine Bardo, as well as some insight on her own artwork.

Elena Soterakis, Not a Drop to Drink, (2017) oil, molding paste, and collage on panel, 18 x 24 inches. Photo Credit Scott Rosenberg

December 20, 2018November 15, 2020

Anne Sherwood Pundyk With Art Spiel – Part 3

AS: What can you tell me about your painting process?

Anne Sherwood Pundyk Mattituck, NY studio exterior
with canvas works in progress summer 2018.

Anne Sherwood Pundyk at work, Mattituck, NY studio spring 2018, photo courtesy The Suffolk Times.

Anne Sherwood Pundyk: To begin, I am alone in my studio out in the country. I clear away the past. I am free. I don’t need to do anything. I have no expectations based on prior work. I wait. An urge eventually calls me toward my materials. My materials are humble drop cloth canvas and house paint. They will be transformed and elevated. I want to make something new. It will affirm a hopeful light. It will hold a dark truth. It will be more than the sum of its parts. It will take whatever size and shape it needs to take. I am there to shepherd its creation. I start by mixing a color that matches my mood. I pour a large quantity of paint onto canvas on the floor of my studio or outside on the lawn. I watch the movement and density of the paint. I pour more paint or water to compose in response to what I see. I work with large heavy pieces of canvas sometimes soaking wet with paint and water, bending, rolling, and pulling. I learn as I go. I extend my body to my materials. The canvas becomes my skin and the paint is a bodily life fluid. Action becomes image.

December 19, 2018December 23, 2018

Anne Sherwood Pundyk With Art Spiel – Part 2

AS: I am curious why you chose to use the term “manifesto.”

Anne Sherwood Pundyk, “Being Blue,” 2018, 90 x 100 inches, Latex, Acrylic, Colored
Pencil and Stitching on Canvas.

Anne Sherwood Pundyk:I could say, “Artist Statement,” but that feels too passive as a prescription for how and why I paint. I associate the term “Manifesto” with an urgent call to action. Since 2009, my painting has formally become more reductive through three distinct bodies of work each with their own written manifesto . Respectively, each written piece affirms a new order in a different way. Common to all is my concern with the idea of agency taken together with my on-going re-examination of the tradition of the medium. As my thinking and understanding changes, so does my work.