Iris Häussler – Invented Biographies

Iris Häussler – Invented Biographies

Throughout her multi-faceted installations, the German-born Canadian based artist Iris Häussler has been slipping in and out of multiple characters. Her invented underdog protagonists live through diverse historical periods and traverse vast geographies. Häussler’s rigorous installations transform any categorization. They are placed between life and art, coalescing multi-disciplinary collaborations including performance, literature, and richly layered visual vocabularies such as drawing, installation and sculpture. The visitor is invited to experience an individual’s life within a specific context of place and history, to decipher the clues from the artifacts and materials throughout installations that reflect on fiction, history and the meaning of a creative identity.

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Juan Puntes – on WhiteBox Harlem

In Dialogue with Juan Puntes on PERFORMA 19 @WhiteBox Harlem and beyond

Juan Puntes, who founded WhiteBox as the original Chelsea non-profit alternative art space in 1998, built a highly reputable venue known for its thought-provoking exhibition with cutting edge contemporary artists vis-à-vis little known avant-garde historical influential producers. While focusing on site-specific work, performance, and video projects, WhiteBox is also offering a wide array of programming including readings, lectures, and panel discussions. Juan Puntes is sharing with Art Spiel some of WhiteBox’s history, his vision, and his upcoming programs.

BOS Studio Spotlight: Yolande Heijnen

BOS Studio Spotlight: Yolande Heijnen

Yolande Heijnen was born and raised in Luxembourg, and has lived in New York since 1998. She has an MFA in painting from the New York Studio School, has won the Edward G. McDowell Travel Grant of the Art Students League, and is a three-time recipient of the Elizabeth Greenshields Foundation Grant.

All photos byCatherine Kirkpatrick

Peter Gynd – Jody MacDonald: Freaks, Geeks, and Strange Girls at Radiator

Peter Gynd – Jody MacDonald: Freaks, Geeks, and Strange Girls at Radiator

In Dialogue with Peter Gynd on Jody MacDonald’s upcoming solo exhibition he curated at Radiator

Peter Gynd is an artist, curator and gallerist whose recent curatorial project is currently on view at Radiator, a solo show featuring new works by the Canadian born and NYC based Jody MacDonald. MacDonald’s sculptural dioramas explore a set of characters on the fringe by merging fact, fiction, and art history. In this Art Spiel interview Peter Gynd elaborates on the genesis of the exhibition.

Katie Hector – New Thick at RSOAA

Katie Hector – New Thick at RSOAA

In Dialogue with Katie Hector on RSOAA and beyond

Katie Hector is an artist, curator, and writer whose work is currently featured in New Thick at The Royal @ RSOAA . a group exhibition she has also co-curated with Barry Hazard at this dynamic venue for curatorial projects in Williamsburg, Brooklyn. In this Art Spiel interview, Katie Hector elaborates on New Thick, her current show, and the premise behind the RSOAA venue.

Karen Mainenti: Message in a Bottle at Ground Floor

Message in a Bottle, installation view at Ground Floor Gallery, 2019, photo courtesy of Jordan Rathkopf

In Message in a Bottle, the current solo installation show at Ground Floor Gallery in Park Slope, the Gowanus based artist Karen Mainenti transforms the gallery into what at first glance looks like an upscale beauty boutique. Mainenti uses this platform to explore the mechanisms at work in the packaging and marketing of beauty products over time, drawing on her own complex relationship to the products themselves. Much of Mainenti’s work examines the subtle but powerful societal expectations of women that show up in ordinary objects. The delicately cast porcelain replicas of her own cosmetics highlight the way objects can be gendered, even when reduced to their elemental forms. Often using humor as a sly way to invite the viewer in, her drawings of creams, lotions and serums using marketing language from real products highlight the inherent contradiction in the ways we read these messages as absurd, yet suspend that disbelief at the cash register when we buy them. Having visited the show when it opened, I was delighted to have the opportunity to chat with Karen about how this exhibition came together and how the various series within it have developed over time.

Inside LP Women’s Art Collective

Inside LP Women’s Art Collective

Interview with Founders Jenn Dierdorf and Kelsey Shwetz

The roots of a tuft of wild grass pulled up from the ground form an intriguing network of living fibers, interlaced with earth. This tenacious nest is a fitting visual for the perennial phenomena of women’s grass roots art collectives found around the world. Springing forth in the ‘70s collectives such as SOHO20, Artemisia, Women’s Building, Guerilla Girls, Las Damas de Arte, and WARM have provided support and opportunities for women not otherwise readily available in the staunchly patriarchic art world. In the subsequent decades women’s art collectives have proven to be a fertile, popular and diverse multi-purpose force, although unfortunately mainstream institutions have under-acknowledged their impact. Art Historian Kathleen Wentrack, PhD, observes, “[The] numerous exhibitions devoted to feminist art in the last decade or so [devote] little attention to collectives, and [there is] a lack of historical studies of collectives and their influence on contemporary art practices, which continue to be influential to the present day.” This exhibition, “Slečny od maliarskeho stojana,” which translates as “Ladies of the Easel,” presents an opportunity to document the origins of a thriving women’s art collective called LP (formerly known as Lady Painters) founded in 2015 by Jenn Dierdorf and Kelsey Shwetz in Brooklyn, NY. When conceiving of the show, curator Juliana Mrvová used LP as a resource for selecting work. Paintings by Dierdorf and Shwetz, among others, are included in the exhibition, which is presented from June to November 2019 in four cities in Slovikia: Bratislava (the capital), Banská Bystrica, Trebišov and Rimavská Sobota. As an early and on-going member of LP, I’m pleased to have the opportunity to interview Dierdorf and Shwetz about their motives and goals for the LP collective.

Anne Sherwood Pundyk is a painter and writer based in Manhattan and Mattituck, NY. She stains, crops and sews unstretched canvas to construct her work calibrating the interplay of spontaneity and control. She is a proud member of LP.

In the Precipice – Karen Margolis at Foley

Karen Margolis’s intricate wall pieces and sculptures featured in her current solo show In the Precipice at Foley resemble topographic mindscapes or cosmic maps. The sum of her dense cell-like circular shapes in some works create a sense of condensing inward, and in others exploding outward. Close up it is like taking a journey through a complex network of neurons, galaxies or emotional states of mind. It is enjoyable to identify recognizable fragments such as remnants of old maps with readable places, trace the multiple burnt holes and biomorphic shapes created with a soldering iron, focus on the hypnotizing miniscule dots of paint on circular clusters painted with watercolor or gouache, and then follow a complex net of crisscrossing dark linear threads which create an engaging tension with the curvy forms.

Riad Miah: Moving Pigments

Riad Miah: Moving Pigments

Riad Miah‘s vivid abstract paintings and bold installations reflect his deep ongoing preoccupation with representation of materiality, time, and light. Riad Miah shares with Art Spiel some thoughts on his own trajectory as a painter. He describes how his painting process has evolved, and elaborates on some projects, including his upcoming exhibition “Magical Spaces, Familiar Places” at Kean College Gallery.

When the Artist Speaks

When the Artist Speaks

A Review of Michael A Robinson’s Solo Exhibition

The Object as Evidence at SL Gallery, New York

Trekking down 38th Street in the heart of the garment district on a Thursday evening in October, I made my way to SL Gallery where Michael A. Robinson’s solo exhibition, The Object as Evidence, was on view. As I pushed open the large steel door to the gallery I found myself immediately subsumed within a group of onlookers similarly clad in all-black. The artist’s talk had already begun and attention was fixed upon Robinson, a tall slender man with sandy-blonde hair standing beside a projector that cast images of artwork onto the wall behind him. Arms extended and eyes twinkling, Robinson elucidated upon the evolution of his work.