Giulia Faria and Mónica Lima in Sideslip, Photo taken by Marcy Rosenblat
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 Marcy Rosenblat and Choreographer Amanda Treiber.
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.
It consists of nature walks and community interventions in the gallery and various locations throughout the Bay Ridge community from April 15 through June 17, 2023. Art Spiel will feature a series of interviews related to this project throughout its duration, here with artist Peter Edlund.
Embarking on a gallery-hopping adventure in Tribeca frequently leads to delightful experience for art aficionados and curious wanders alike. While not every artwork you encounter may make your heart skip a bit, or even resonate with your personal taste, Tribeca’s growing cluster of galleries promises an ever-increasing chance of stumbling upon captivating and thought-provoking artworks. In this article, join me on a curated journey through four compelling painting shows taking place throughout June.
Ellsworth Kelly (1923-2015) is one of those artists whose status I’ve never understood. While he is held in high esteem by many, I’ve always questioned his significance. Don’t get me wrong, I like his work, but liking it doesn’t necessarily make it significant. His work is elegant, refined, and smart, and yet even in the 1950s-70s, it seemed conservative against the backdrop of Abstract Expressionism, Pop, and Minimalism. What made Kelly different from his peers was that when he was living and studying in Paris after World War2 on the GI Bill, while many of his fellow artists from the States were exploring lyric abstraction and L’informale, Kelly was looking at Art Concrete and had begun to make multi-canvas paintings.
Cadavre Exquis with Valentine Hugo, André Breton, Tristan Tzara, Greta Knutson Landscape c.1933, Museum of Modern Art, Purchase
In an online artists’ talk in January 2022 between artists Chie Fueki, Alexi Worth and Catherine Murphy at DC Moore Gallery (produced by Painters’ Table), Murphy mentioned that her paintings were occasionally based on dreams. She revealed that her most recent show at Peter Freeman Inc. included two dream paintings: Flight (2020) and Begin Again (2019). “Flight” shows a gingham apron splayed at the bottom of four carpeted stairs and “Begin Again” shows five blue hand outlines on yellow-green wallpaper. During the course of the conversation, Worth also noted that Jasper Johns’ Flag painting came from a dream. And it got me wondering: How common is dream inspiration in art?
Kate Dodd, E. J. McAdams & Jennifer McGregor enjoy haiku installed in the ceiling lamps by E.J. and Jimbo Blachly as part of Kate’s Bay Ridge Tree Collection at the Bay Ridge Branch of the Brooklyn Public Library. Photo courtesy of E. J. McAdams.
Bay Ridge through an Ecological Lens is a multi-faceted public art exhibition hosted by Stand4 Gallery and presented in collaboration with ecoartspace
It consists of nature walks and community interventions in the gallery and various locations throughout the Bay Ridge community from April 15 through June 17, 2023. Art Spiel will feature a series of interviews related to this project throughout its duration, here with curator Jennifer McGregor.
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.
Bonny Leibowitz “I Make My Own Weather”, “Raindrop installation”. photo courtesy Bonny Leibowitz
In her installation-based exhibition titled I Make My Own Weather at the MAC in Dallas, Bonny Leibowitz explores the validity of social constructs and the reliability of acquired or assumed perceptions, implying separateness, otherness and disconnection. Leibowitz’s work utilizes and expounds upon the landscape painting traditions of idealized histories, such as the Hudson River School, Romanticism, and Baroque. The installations act as deconstructed paintings, as though walking through fragments of represented landscapes—a tree root painted epoxy green, an Astro turf tarp in the shape of a pond, a peeling away of a blue sky.
From its founding in 2009 by Maddy Rosenberg, CENTRAL BOOKING has focused on the exploration between art and science with emphasis on aspects of the environment and social justice issues. In many collaborative projects with organizations such as the New York Academy of Medicine and the Brooklyn Botanic Garden, artists researched their work in the collections, libraries and grounds of these institutions and exhibited the resulting work in several venues. Rosenberg says that after years of living along the Brooklyn waterfront of Buttermilk Channel and incorporating the imagery into her own work, she sensed it was time to take a deeper dive into the ecosystems of the Brooklyn waterfront and the last surviving section of functioning port within New York City’s boundaries. The life along the harbor integrates the wildlife, land and neighborhoods of human-made architectural elements seemed to her like “a perfect barometer for exploring climate change”. A collaboration with the New-York Historical Society was a natural step, as their collections preserve many of the earlier roots along the way to the transformations we live with today. Rosenberg says that in addition, by forging partnerships with other area organizations such as Kentler International Drawing Space, Pioneer Works and the RETI Center, the project became truly emblematic of the Brooklyn Waterfront.
