Contemporary Art and Culture
The paintings in James Gold’s solo show, Infinite Scroll, act as intermediaries between past, present and future. These glimmering grids at Morgan Lehman gallery toggle between his deep reverence for history and his active aesthetic imagination. Talking with the painter about his wider practices in collaged artist books and archeological renderings revealed new means of perception and applications of art-making.
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An occult presence pervades the sylvan scenery of Comet Eater, a solo show from Terra Keck. In these nightswept graphite drawings, trees shimmer and sway. Leaves levitate and glow. Stars or fireflies illuminate ornate paths. Among other sources, Keck hybridizes the ghostly impressions of Anna Atkins’s botanical cyanotypes and the mystic geometry of Hilma af Klint’s paintings.
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For each iteration of curatorial project, Site, founder Seoyoung Kim has been blessed: swelling turnout, glowing reviews, a sunny day for their first outdoor show. When she opened Site 004. Winter Solstice on December 21st, New York saw its first snow of the season. Moments big and small in her pop-up shows keep confirming that she’s on the right track. The ambitious installations lean toward an organic, playful minimalism, with room for viewers to look slowly. In dialogue with sculptures and wall-work, Kim has begun to incorporate time-based programming—poetry readings, DJ sets, and artist performances– to fully embrace her curation’s one-night ephemerality. Still, these brief offerings provide space for artists of all stripes to congregate and share their work meaningfully, with a sense of both depth and urgency. A year into spearheading this project, Ms. Kim took some time to reflect on Site’s journey.
Continue reading “Site: Seoyoung Kim’s project to uplift artists and broaden their communities”Installation view of Prayer / Pattern / Prayer
Prayer / Pattern / Prayer at Morgan Lehman offers a mesmerizing view of patterns as a deeply seated human instinct. Fittingly, a radial symmetry unfolds from the vertex of the L-shaped room. Yet curator Jan Dickey balances this evenness with a syncopated rhythm of paired artworks and bold standalone pieces. In creating a pattern of patterns, this show offers a metonymic view of artists running with different strands from the fabric of a species-wide impulse toward order and adornment.
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In the three person show Aggregate at Studio 9D, artists Sammy Bennett, Bradley Milligan, and James Bertucci channel New York streetscapes and detritus to relay an earnest and affecting impression of the city. Bertucci’s trompe l’oeil paintings, Bennett’s fabric installation, and Milligan’s rugged sculptures overlap in a reverence for craftsmanship. Labor and construction are this show’s subject and, in many ways, its medium. In its use of material and representation Aggregate is boldly literal in its translation of the city’s chaos and beauty.
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