Exhibitions – Page 43

July 16, 2021November 2, 2022, by Alex Feim

Jorge Otero-Pailos: Distributed Monuments at Sapar Contemporary

A picture containing gallery, room, scene, indoor

Description automatically generated — *Installation view of Jorge Otero-Pailos: Distributed Monuments. Courtesy of Sapar Contemporary*

One could say that the primary medium of Jorge Otero-Pailos’s work is liquid latex, but perhaps it would be more accurate to say that his medium is time – or rather, the passage of time made visible. In Distributed Monuments at Sapar Contemporary, Otero-Pailos presents a series of latex casts mounted on canvas from the old U.S. Mint in San Francisco, California and from the pool at Lyndhurst Mansion in Tarrytown, New York. Two monumental sites on opposite coasts come together – one representing the literal creation of wealth, and the other an accumulation of it by an elite family. These latex casts have extracted dust from the sites, which are both in states of preserved ruin, but can be visited by the public.

June 30, 2021July 22, 2021, by Emily Blundell Owers

History’s Shadow Marks the Beginning at Grove Collective

Installation view featuring Mitch Vowles, *Earnie*, 2021, Fruit Machine, Photographs, Water, 175 x 70 x 65cm courtesy of Grove Collective, photographed by Ollo Weguelian

Dibnah in Lights is hard to miss. The name of that legendary Yorkshire steeplejack flashing in red, white, and blue bulbs against the green felt backdrop of a repurposed snooker table is the first piece that greets you as you walk through Grove Collective’s doors. This piece by Mitch Vowles, a sculptor who works with found objects to draw out their cultural and personal contexts, nestles easily amongst Connor Murgatroyd’s pastel-hued still life paintings of anthuriums, signet rings, Sinatra albums and a scaffolders A-Z, and film photographer Alfie White’s hand-printed images of boys at Brixton bus stops, on Tottenham blocks, and playing in Burgess Park.

June 28, 2021June 9, 2021, by Rachel Jeffers

Test Kitchen: Carolyn Case at Reynolds Gallery

*Shadow Sink,* 2021 oil on panel 42 x 50 inches

Test Kitchen, Carolyn Case’s show at Reynolds Gallery in Richmond, Virginia, consisted of 4 oil paintings on panel along with 8 pastel drawings. Hefty brush strokes fill the surface area of the oil paintings. The painterly process involves a buildup of incremental adjustments, the layers of paint applied one by one until the shapes solidify into a kaleidoscopic arrangement; one nudge and the elements will shift accordingly, morphing the image into an entirely new pattern. Each of the paintings gives the impression of a specific time of day, indicated by the character of light and color playing across the space. Monet’s Water Lilies come to mind. But in place of Monet’s serene refuge, Case’s light lingers over a sink full of dirty dishes.

June 23, 2021November 2, 2022, by Art Spiel

Melissa Stern: Stronger than Dirt: A twenty year Retrospective

Art Spiel Photo Story

Stronger than Dirt: Melissa Stern at the Lockwood Gallery, installation shot

Walking into The Lockwood Gallery in Kingston NY one is instantly transported into another Universe. One populated by people and things who clearly are living in a world parallel to ours, but profoundly different. Smiling figures stand tall, grinning at the world, while all the time missing a limb or two. Or having their feet nailed to the ground. Images from vintage magazines merge seamlessly with Melissa Stern’s drawings. Her world is populated with folks who exhibit a stubborn resilience in the face of cosmic obstacles. Hence the exhibition’s title – Stronger Than Dirt.

June 18, 2021July 22, 2021, by Elizabeth Meggs

Twenty Twenty Twenty One

Art Spiel Photo Story

A picture containing indoor, floor, wall, gallery

Description automatically generated — Partial view of gallery installation, photo courtesy Jon Bunge

Twenty Twenty Twenty One is a group exhibit and corresponding artist book created by 18 artists. During the darkest days of the past year, the fellowship this group of artists built became a beacon of hope. The artists initially congregated in early April of 2020, during the height of the Covid-19 pandemic, via weekly Zoom meetings launched by artist Mike Sorgatz, that continued through the year and up to the present. Inspired by their camaraderie, in late summer of 2020 they began casually discussing making a book to share artwork loosely relating to themes of community and connection. This book expanded into a corresponding exhibit, with Janice McDonnell generously taking the initiative in early December of 2020 to curate the exhibition at Sweet Lorraine Gallery.

June 12, 2021June 9, 2021, by Sagi Refael

Melanie Daniel – No Man’s Land at Asya Geisberg

*Melanie Daniel, No Man’s Land, Installation view. Courtesy of the artist and Asya Geisberg Gallery, New York*

Melanie Daniel’s fifth solo exhibition at Asya Geisberg Gallery, No Man’s Land, continues the artist’s fascination with creating post-disaster environments, radiating with neon vibrancy and highly dense compositions. Her non-place surroundings are reminiscent of jungle clearings and scorched forests, where the trees are scarred and chopped, the water is acidic and the backgrounds swirl around the central protagonists, whether people or objects, with a restless tempo that leaves no room for the imagined tranquility.

June 4, 2021June 2, 2021, by Iara Pimenta

An Installation to Immerse and Reconnect

Installation view. “To Ripple with Water” at The Border Project Space, 2021. Image courtesy of the artist

In unstable and changing times, haunted by a pandemic and conflicts unfolding worldwide, the installation by artist Bel Falleiros creates an introspective space that allows us to pause and reflect on how we relate to ourselves and the environment. Presented at The Border Project Space and curated by Jamie Martinez, “To Ripple with Water” is an invitation to be present, to disconnect from the frantic times we live in, and reconnect to our bodies and to the earth, in a quietly performative experience.

June 2, 2021May 31, 2021, by michelle weinberg

Down and Dirty at Duck Creek Arts

Installation view, photo courtesy of Gary Mamay

Down and Dirty, recent works by Bonnie Rychlak and Jeanne Silverthorne on view at Duck Creek Arts in East Hampton, NY, is a vaudevillian collection of subtly crafted works that tickle our collective psyche. The narrative of banal objects formed largely from wax and rubber elicits empathy, provokes thought and causes laughter, a complex jumble visually and emotionally. Arranged on the floor in the massive wooden barn, rejecting the hierarchical placement of art on pedestals, the works address a child-sized viewer, or perhaps an imp. They deftly implicate our inner child. The worn wood panels and flooring of the barn are complicit with Rychlak’s and Silverthorne’s works, collaborating to generate an experience in which the “feeling” or “haptic” sense is awakened, enriching the viewing experience. That Down and Dirty also blurs the boundaries between the works of the two artists is gleefully conspiratorial, the word defined here as “to breathe together.” It is a feminist gesture which includes an actual collaborative work titled Grate of Unintentional Consequences.

May 28, 2021November 2, 2022, by Art Spiel

Form or Function at ArtPort Kingston

Art Spiel Photo Story

A picture containing building, way, sidewalk, dirty

Description automatically generated — Exhibition view

The group exhibition Form or Function at ArtPort Kingston features works of various media, exploring the relationship of objects in between contemporary art, design and craft with an attempt to blur the lines and create dialogue. The exhibition overall prompts a question – “Looking at everyday images, objects, tools and materials, we have very diverse emotional bonds with them. An artist creates a dialogue with their materials, providing intentions. Is it an object’s form, their history, or the story we create that attracts us?”

The show is curated by Laurie De Chiara, featuring works by Chuck von Schmidt, Karen Jaimes, Staveley Kuzmanov, Traci Johnson, Barbara Marks, Ellie Murphy, Courtney Puckett, Jim Osman, Rachel Urkowitz and Gabriele Hamill, Inna Babaeva, Clemens Kois, Sophi Kravitz, Christina Kruse, Jeanne Atkin, Kathleen Vance, Erika DeVries, and Rodger Stevens. The show runs through June 6^th.

May 27, 2021November 2, 2022, by Art Spiel

Shifting Sands at ChaShaMa

Art Spiel Photo Story

From left to right: Spandita Malik ‘Salwar-Kameez on Clothesline’ 2021 Sun-printing, Phulkari silk thread embroidery on Khaddar fabric, 32 x 40 inches ; Geuryung Lee‘The movement’ 2019 Drypoint on paper 18 x 24 inches; Sofia Luisa Suazo Monsalve ‘Post-photographic landscape #1,2,3’ 2019 Digital chromogenic print on paper, 9 x 18 inches; j.p.mot ‘Stool + boogey’ 2017 Mixed media, 7ft x 5ft x 6ft; Hyun Jung Ahn ‘Blanket Windows’ 2021 Felt and linen, 72 x 62 inches

SHIFTING SANDS is a group exhibition showcasing the creative breadth of 20 artists from the 2020 New York Foundation for the Arts Immigrant Artist Mentoring Program. Each of these artists has crossed physical borders, leaving one part of the world for another – in doing so, they hold space for various identities and shifting realities. From this common experience emerges unique perspectives on identity, belonging, home, memory, hope and resilience. Many of the pieces exhibited were created during the pandemic. They express the rollercoaster of emotions, the shifting states of being, and new possibility.

Exhibiting artists: Zeshan Ahmed, Katya Akuma, Ivana Brenner, Hedwig Brouckaert, Zorica Colic, Carin Kulb Dangot, Bel Falleiros, Nathier Fernandez, Vinay Hira, Jaejoon Jang, Hyun Jung Ahn, Ae Yun Kim, Geuryung Lee, Jiaoyang Li i, Spandita Malik, Levan Mindiashvili, j.p.mot, Ghislaine Sabiti, Leila Seyedzadeh, Sofia Suazo

Curated byYvette Molina, Ghislaine Sabiti and Hedwig Brouckaert