George Widener and Terence Koh at Andrew Edlin: Traces of Time

George Widener: Tip of the Iceberg
George Widener at Andrew Edlin

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.

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Jim Condron: Collected Things at Art Cake

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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. 

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Just say YES to NADA!

Paul Wackers- First Time, Long Time. Jack Hanley Gallery

I’ve been to more art fairs than I can count, but the ones that I’ve had fun at I could count on two hands. Many are too big, dealers are either stressed out or bored, mundane work or work that is inaccessible or silly. The last show that I went to before the pandemic was The Armory Show at the westside piers. It was a few days before the world shut down and the fair was eerily empty. I wandered alone through a fair that typically had been jam packed with beautiful art lovers. And then everything went quiet for about a year and a half.

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ArtYard & Paul Bowen: Drift

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Frenchtown in the Delaware river Valley NJ is home to a fantastic new arts center with cutting edge programming: take note art lovers, ArtYard has come to town. ArtYard is a not for profit, state-of-the-art facility with two floors of exhibition space, sculpture lawn, black box theater with chic little bar and a tiny store. It is spacious, light, and beautiful: everything about this place is “feel good” and functional. It overlooks the river where bikers and hikers pass on the Delaware Raritan Canal State Park Trail an old railway track. The facade is a sophisticated blend of metal overhang elements (think Chelsea Meatpacking) and smart graphics with a large welcoming entrance. The pitch perfect brick building, designed by architects Ed Robinson and William Welch, was inspired by 19C industrial factories. The new center weaves itself perfectly into the historic fabric of Frenchtown NJ.

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Rachael Wren: Site Lines at The Shirley Project Space

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Rachael Wren: Site Lines at The Shirley Project Space, March 2023installation view. Photo courtesy of Kate Glicksberg.

The Shirley Project Space in Brooklyn is a sympathetic environment for Rachael Wren’s Site Lines, a solo exhibition of six paintings and an unexpected site-specific installation. With two large windows on street level, the gallery’s abundant natural light heightens the relationship between the paintings and the outside world. This bright and airy effect is amplified by the minimalist architecture and tall ceilings, leaving the artist’s painted trees room to grow, an illusion propelled by the restrained installation which leaves ample space around each work.

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Non-Profits Shine at The Outsider Art Fair

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From Creative Growth, Oakland, CA.

This past weekend marked the 30th anniversary of the Outsider Art Fair, which debuted in NYC in 1993 at The Puck Building. Now housed at The Metropolitan Pavilion in Chelsea, it has come roaring back after a few quiet pandemic years.

Out of the sixty-four galleries exhibiting thirteen were representing non-profit organizations that work with developmentally challenged populations. For me these were the most exciting booths at the fair. The non-profits bring work that is consistently fresh and exciting. This year’s fair included organizations from Germany, Portland Oregon and Chicago that I had not seen in previous years. Several showed work among the most surprising and compelling at the Fair.

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Myrlande Constant: Drapo at Fort Gansevoort

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Reincarnation Des Morts 110 x 111 inchex. Beads, sequins, tassels on fabric. 2022.

Fort Gansevoort Gallery in New York’s Meatpacking District has long been one of my favorite galleries. Housed in an old three-story building, they have been presenting some of the freshest and most original shows in the city. The current exhibition, Myrlande Constant: Drapo is one of their best. Constant is a Haitian artist who works in textiles, taking a traditional form called “drapo” and rocketing it into the realm of contemporary art. Drapo is based on a 19th century embroidery technique developed in France, called tambour. Fabric is stretched tautly over a wooden frame and embroidery, using sequins and beads done from the reverse side.

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Ulf Puder at Marc Straus Gallery

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Taormina, Oil on canvas,39.4 x 47.25, 2018

Marc Straus Gallery is currently presenting the paintings of Ulf Puder, a German artist whose landscape paintings are deeply evocative and strangely alluring. I was not familiar with the artist or his work, and I’ll admit, it took a beat to enter his Universe. But once in I began to see deeper into the complex issues he deals with in his paintings.

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Table of Contents at Time and Space Limited in Hudson

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In October 2021, at the periphery of the parking lot outside of the Time and Space Limited Center in Hudson, artwork by Linda Mussman appeared—about 20 large dictionaries and encyclopedias opened out on a crude wooden table. For several months, round the clock, these dictionaries were exposed to rain, sunlight, and snow, and rifled through by winds. Peach-colored streetlight bathed the texts some nights, and bright sunlight bleached the pages some days. The grass around the table receded and then returned with – mirabile dictu – a green shoot briefly fighting its way between 2 volumes. 

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