Dance by Etty Yaniv

Norte Maar’s CounterPointe10 – Alejandra Seeber and Sarah Yasmine Marazzi-Sassoon

Dance

The impetus for this series of conversations between a visual artist and a choreographer comes directly from my recent collaborative work with a choreographer as part of Norte Maar’s CounterPointe10. In this unique project a choreographer is paired with a visual artist to create together over two months a dance performance that integrates the two disciplines into a cohesive vision. Here is the conversation between artist Alejandra Seeber and choreographer Sarah Yasmine Marazzi-Sassoon.

Uncategorized by Amy Brady

Tempestry Project: Emily McNeil and Asy Connelly with Amy Brady

hot air

Amy Brady published in her newsletter Burning World a conversation with Emily McNeil and Asy Connelly, a knitter and data scientist who founded the Tempestry Project, a fiber art collaboration that uses yarn and other fibers to create artful representations of climate data. This summer, they are partnering with Colossal Magazine and the Design Museum of Chicago in two different ways: first, their “Paleo New Normal Tempestry” will be exhibited in the museum’s group show, At the Precipice. And secondly, they’re collaborating with the museum to develop a Chicago Tempestry Collection that will be exhibited along with the Paleo piece. Amy Brady asked Emily and Asy about their work and what they hope viewers take away from their art. 

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Photo Story by Etty Yaniv

Noa Charuvi: Gal’Ed at York College Arts Gallery

Photo Story

45 Jacob took a stone and erected it as a pillar. 46 He instructed his kin, “Collect some stones.” They gathered stones, formed a heap, and shared a meal beside it. 47 Laban named it Jegar Sahadutha, while Jacob named it Galeed. 48 Laban declared, “This heap stands as a witness between us today.” Hence, it became known as Galeed.

Genesis, Chapter 31, Verse 45

A Gal’Ed symbolizes a location marked by significant events—deathly moments or sacrifices. As it appears in the Old Testament, it signifies a covenant. In Hebrew, ‘Gal’ is a heap of stones, and it is the same word for ‘wave.’ ‘Ed’ means a witness. This heap of stones becomes an emblem of the pact between Jacob and his father-in-law: their agreement not to harm each other’s possessions or families. Serving as a symbol of shared promises, Jacob sanctifies it, offering to God on this stone.

Myth Maker: Laleh Khorramian at SEPTEMBER Gallery
Exhibition Review by Sara Farrell Okamura

Myth Maker: Laleh Khorramian at SEPTEMBER Gallery

Finally! What a joy to meander through a show that is not just a formulaic scaffolding rendered to execute a marketing plan rather than make art. Walking into the building that houses September Gallery’s new space in Kinderhook, NY, The first thing you see is not a wall or architectural ornamentation but a monumental scroll that immediately hints you might be here for a while. This colossal collage introduces Myth Maker, the second exhibition at September Gallery by Laleh Khorramian.

Whisperings from the Wormhole with @talluts by Amy Talluto

Whisperings from the Wormhole with @talluts

A Meditation on Artists’ Residencies, a Dune Shack and the Twilight Zone

Sometimes I find myself scrolling Instagram on a dark day in February or March, just wondering what it would be like to make art in a lighthouse…or in Robert Rauschenberg’s old fishing shack…or in a Florida swamp…or in a small RV in a Utah ghost town…or on an island in Italy. Artists’ residencies are a nice thing to dream about when you feel stuck or in a rut and when life is wearing you down with mundane pressures. Sure, there are the big ones like MacDowell and Yaddo, but those are uber-competitive and hard to get into. There are so many other off-the-beaten-path secret outposts that will happily allow a creative person to try on their lifestyle for a bit. As an artist, it’s so helpful to get out of dodge now and then and hit the road for new sights and sounds.

Exhibition Review by Melissa Stern

Here Now: Contemporary Photographers of the Hudson Valley

The Kleinart James Center in Woodstock, New York, is currently presenting a very ambitious and interesting photography exhibition. Entitled Here Now: Contemporary Photographers of the Hudson Valley, the show presents 17 artists representing a portion of the many photographers working in this geography. Organized by curator Jane Hart, the show offers a wide range of aesthetic visions and techniques.

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Exhibition Review by Meg Hitchcock

Martha Bone and Janice Caswell: Two Solo Shows at Garrison Art Center

Two artists currently showing at Garrison Art Center use scale, structure, and geometry to examine and reinterpret their respective environments. Martha Bone’s large-scale paintings and assemblages express a sweeping view of the cosmos, bringing the macrocosm within our reach, while Janice Caswell’s small-scale sculptures find the infinite within the microcosm, showing us the vast potential in all forms. Both Bone and Caswell photograph their natural and man-made landscapes, later referring to these images when creating their works. And both artists construct their forms as improvisations inspired by their observations, although neither artist is interested in a literal interpretation of nature. But this is where the similarities end, their distinctive styles diverging toward an expansive contemplation of form and space and an intimate exploration of the fabricated structures that inhabit our lives.

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Sponsored Content by Matt Moment

David Dew Bruner reinterprets still life in Equipoise at Carrie Haddad Gallery

Artist Profile

David Dew Bruner is no more a thief than the next artist—it’s only that he is candid enough to tell us outright who he has stolen from. In “Equipoise: Stasis and The Power of Suggestion in Still Life,” a group show on view at Carrie Haddad Gallery through October 1, Bruner presents a series of drawings, each titled “Morandi Bottle.” More accurately, it is not so much Morandi’s bottles that Bruner has lifted (he’s the first to admit that the works “don’t look anything like Morandi paintings”) but rather the essence of Morandi’s mark-making. “Sometimes, I just love the way other people make marks,” Bruner enthuses. “My endeavor is [to riff off] the gesture of the form, the gesture in the detail, the quality of the line. It may be a subject matter that’s dull as dishwater to me, but the way it’s painted… I’m jealous.”