Bat Ami Rivlin: Functional Narratives

A person standing in a grass field with a dog and a large object

Description automatically generated
Untitled (12 tubs), 2023, Socrates Sculpture Park, New York, NY.

Bat Ami Rivlin, who has lived in New York City for over a decade, finds her artistic practice profoundly shaped by the city’s relentless cycle of object turnover. The daily expulsion of waste from restaurants, buildings, and homes onto the streets, followed by the inevitable clear-out, is a stark reflection of urban existence. This phenomenon sparks contemplation on how these transient objects organize our spatial interactions, both during their use and after their disposal.

Continue reading “Bat Ami Rivlin: Functional Narratives”

Eileen Neff: The Bigger World in Categories

14. Self Shelf
Self Shelf, UV pigment on dibond, 30 x 38 inches

Eileen Neff, a multidisciplinary artist with a background in literature and painting, has been creating “photo-based images and installations” since 1981. She recounts her understanding of poetry long before grasping painting. Her academic path led her from being an English major at Temple University, where she immersed herself in painting studios, to the Philadelphia College of Art (the recently closed University of the Arts). While teaching at a private secondary school, a tuition-free photography class captured her unexpectedly. “I began photographing pieces of my paintings and, before long, had convinced a couple of students to build a black and white darkroom in my apartment,” she recalls. This transition directed her focus to natural elements and interiors, subjects she still rigorously explores. Though she no longer paints, Neff states, “I still think more like a painter than a photographer; my photographs are still very driven by how a poem means.” Neff currently exhibits her work in In Some Light Reading, a group show at the Mitchell Art Museum featuring work by five artists and poetic texts by four writers addressing the life-making qualities of light. The show runs through July 7th.

Continue reading “Eileen Neff: The Bigger World in Categories”

Michal Gavish: Neuro Land at the American Association for the Advancement of Science (AAAS)

Photo Story
Synapsing 2023, mixed media on translucent architectural paper 76-82” H X 200” W (5 panels)

In planning her new exhibition at the AAAS gallery, artist Michal Gavish envisioned painted images of neurons enveloping the spiral-shaped gallery space, extending upward, downward, along, and away from the walls. Following an extensive phase of research and creation, spurred by personal family tragedies, Gavish created Neuro Land, a field guide to neurons. She devoted a piece to representing each type, painting a set of larger-than-life nerve cells images on fabric and paper. Gavish later assembled these pieces layer by layer, echoing the scientific method used in constructing representations of the unseen—similar to how MRI technology captures internal snapshots in segments and reconstructs them in three dimensions. While engaging with this invisible realm, Gavish reflected on her former practice as a scientist, interrogating the expansive vistas revealed through IR, X-ray spectra, or under the electron microscope.

Continue reading “Michal Gavish: Neuro Land at the American Association for the Advancement of Science (AAAS)”

David Samuel Stern: Does a portrait need a subject?

Stern positioning two fabric-wrapped models during a shoot in Chelsea in 2022. Photo by Jaymye Thomas

In 2018, I interviewed David Samuel Stern about his process of creating woven photographic portraits. In these portraits, he interlaced photographs into intricate, tactile artworks, emphasizing the medium’s tangible qualities. Stern has been relentlessly exploring what it means to portray through photography and the medium’s place as a recorder of time and nature. Since our initial interview, he has produced captivating new work. Here, we survey his evolution over the last six years and his current work.

Continue reading “David Samuel Stern: Does a portrait need a subject?”

The Space Between at Platform Project Space

Photo Story
Installation view

The Space Between, curated by Tracy McKenna at Platform Project Space, combines works in paint and fiber by Lauren Luloff, Tessa Greene O’Brien, Mark Olshansky, and Amy Kim Keeler. They all share a sense of desire to capture the elusive space in between—where the artist’s perception and hand meet your gaze.

Continue reading “The Space Between at Platform Project Space”

Jeanne Ciravolo – the resistance in making do

In Dialogue
A person standing in front of a wall with paintings

Description automatically generated
Residency at the Anderson Center, 2019, Red Wing, MN

In her mixed-media work, Jeanne Ciravolo integrates collage, print, and stitching, materializing the stories of her female relatives—their stories of loss and hope. The female figures often reference representation of women in art history, such as medieval carvings or paintings from the Renaissance. The figure imagery is based on Ciravolo’s sketches, figure drawings, photos from newspapers and magazines, or photos she took.

Continue reading “Jeanne Ciravolo – the resistance in making do”

Peggy Cyphers: Passages at The Front Room 

Featured exhibition
A painting of a mountain range

Description automatically generated
Peggy Cyphers “Floating Passage” (2012-6) acrylic, sand, leafing on canvas 54”x50”

Peggy Cyphers’ exhibition at The Front Room Gallery in Hudson, titled Passages, integrates disparate painting traditions into abstract landscapes. The technique—fluid brush strokes combined with sand and paint pour—draws from Chinese landscape art, Native American traditions, and Postwar Abstraction. These paintings suggest the natural world’s fragility, mystery, and grandeur, recalling the upward gaze from the base of a canyon.

Continue reading “Peggy Cyphers: Passages at The Front Room “

This Bitter Earth: Deborah Wasserman at Kuma Lisa

Photo Story
Deborah Wasserman, Rubble, 2021, ink and acrylic on paper, 28″ x35.5″

Rubble, mutated crop fields, floods, scorched earth, and occasional female figures floating or submerged unfold throughout the sixteen landscape paintings in Deborah Wasserman’s current solo show, The Bitter Earth at Kuma Lisa. Though the paintings differ in scale and media—from small acrylic and oil on panels to larger acrylic, oil, and stained clothes on canvas to medium-sized works on paper—they all share the sense of a world where multiple perspectives from different vantage points co-exist. Wasserman’s energetic strokes and searching lines create a rhythmic movement upward, downward, and sideways—reminiscent of the fluidity in Chinese and Japanese calligraphic scroll paintings and the clear, directional lines of a hand-drawn map. These linear dynamos intertwine with a palette of earthy tones, greens, yellows, oranges, blues, reds, and pure blacks, creating multiple vignettes within a layered landscape.

Continue reading “This Bitter Earth: Deborah Wasserman at Kuma Lisa”

Eccentric Abstraction at MoCA L.I.

Photo story
A group of art pieces in a room

Description automatically generated
Installation view

John Cino, curator of Eccentric Abstraction at MoCA L.I, first encountered the works of Eva Hesse, Jackie Winsor, and Linda Benglis during his undergraduate years, an experience that deeply influenced him. He draws a throughline from their pioneering works to the current exhibition, “For each of the artists in the show—Stephanie Beck, Sky Kim, Christina Massey, and Sui Park—the process of making is a visible element of the work, and the forms they create are evocative with minimal narrative, Cino explains.

Continue reading “Eccentric Abstraction at MoCA L.I.”

Judy Hoffman: Evolvers and Wildtypes at Sculpture Space

Hot Air

A person standing next to a sculpture

Description automatically generated
The artist with Big Yellow, 18″ x 11″ x 7.5”; ceramic; 2017. Photo Credit: Linda Cunningham

Ten years ago, Judy Hoffman became enthralled with clay and hand-building. The current exhibition Evolvers and Wildtypes at the Long Island City Sculpture Space is her first solo show of these ceramic sculptures. Hoffman’s ceramics’ imagery and forms tap into a previous installation work made from sculpted paper pulp, natural materials, and man-made debris. Paper clay techniques permit the bonding of wet clay to fired forms, enabling the construction of diverse configurations. These components are conjoined to initiate a dialogue between organic and mechanical elements, yielding imagery that defies expectation. The artwork evolves through a rhythm of construction and deconstruction, encapsulating cycles of creation, deterioration, and renewal. Viewers are meant to encounter an elemental rawness, surprise, and a touch of humor.

Continue reading “Judy Hoffman: Evolvers and Wildtypes at Sculpture Space”