Contemporary Art and Culture
Situation
The duo Treizman + Zurilla has created a paradoxical situation at The Frank C. Ortis Art Gallery in Pembroke Pines, Florida. There are no paintings hanging on the walls or sculptures on pedestals; only the remnants of an undefined and colossal event. It is perhaps the belated fulfillment of a premonition that adopts the exhibition space as a medium for art, transforming the White Cube into a site-specific installation.
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A retrospective of drag was recently presented with great aplomb at Culture Lab LIC. Queens: The Art of Drag & NYC featured an array of artists deeply embedded in the glorious culture of drag. Honoring its rich history through performance, fashion, music, makeup, design, and more, the essence of this multifaceted experience was distilled through celebratory expressions of artistry, beauty, community, and resilience.
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I saw “Le Alchemiste” by Anselm Kiefer at the Palazzo Reale in Milan, and although I have seen many exhibitions by this German artist, I have never seen anything like this. He creates large vertical portraits of about forty women who worked as alchemists and healers in various European communities in the period between antiquity and the nineteenth century.
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Entering the bright gallery space, shared with Tiger Strikes Asteroid on the other side of the wall, you are welcomed by brightness and playfulness. Like walking into a kindergarten classroom, a playroom, or a yoga studio, the sculptural inhabitants are cordial yet also preoccupied with themselves. It is no coincidence that the curator and three of the artists are mothers who spend time with children.
Continue reading “Do I Know You From Somewhere? at Transmitter: Alison Kudlow, Susan Meyer, Hanna Washburn, and Se Young Yim “
Katy Fischer and Marie Lorenz go back to the mid-90s and the printmaking department at RISD, where the sheer amount there was to learn on a technical level sealed both of their paths as artists. Cantilevers, their two-person exhibition at Roundabouts Now in Kingston, includes no printmaking at all — yet a printmaker’s habit of setting up a repeatable process and then letting it devolve runs through both bodies of work. Lorenz, who has operated a tide taxi in New York Harbor since 2005 in boats she designs and builds, shows kinetic, pendulum-based sculptures weighted with porcelain casts of objects found on the beach. Fischer’s script-like porcelain shapes and new mosaics draw on techniques with roots reaching back 1,500 years. In the conversation that follows, the two artists discuss their shared history, the systems behind their work, and the tension of balancing porcelain on a single point.
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Polychrome, on view at Bernay Fine Arts, brings together paintings by Jenny Kemp, Audrey Stone, and Deborah Zlotsky in an exhibition on abstraction and geometric structure. Across three distinct practices, the artists use color as structure and sensory experience, although each arrives at abstraction through her own internal logic. Here abstraction is a form of concentration, examining the texture of experience: how can attention intensify and shift? How can time accumulate? How can systems hold together and slip apart? Artist Meg Lipke, a long-time colleague and friend of the artists, visited the show and addressed questions for the following conversation.
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I think it’s safe to say that everyone dreads turning on the news nowadays, with the turmoil of politics and world events. If it’s not on the TV, stressful headlines take over email news updates or flood social media platforms. However, for an artist, it can either bring one’s mood down or inspire one to take action by creating one’s own interpretation of a solution. Blair Saxon-Hill is the latter. With Saxon-Hill’s newest solo show at SHRINE, Saxon-Hill’s oil paintings, which portray mostly flowers, provide serenity to this chaotic state of American politics.
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America, Unfinished?!, a national exhibit at WaterFire Arts Center in Providence, RI, features the work of 80 artists from 13 states and territories. I visited the 15,000-square-foot former rubber factory on a hot July day. The light-filled space is several stories high and could dwarf almost anything smaller than a jet, so it took me a while to find my bearings and focus on the work.
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Walking through MoMA PS1 for the first time in several years, I realized how much it has changed and how much I still remembered from my first visit, before officially becoming a New Yorker. The meandering, bustling energy of the building remained, each turn and new corridor offering discoveries. It was special to witness how eclectic and unique each artist’s vision and process was and how many identities and stories are gathered under one roof. Organized for the first time by MoMA PS1’s full curatorial team, the exhibition emphasizes the forces that shape daily life in the city today. This includes strategies of resistance and adaptation in the face of increased surveillance, shifting identities, economic uncertainties, how we view ourselves and others, and the ever-changing technologies around us. This exhibition notes both optimism and anxiety throughout all of the artists’ attention to the layered, eclectic lived textures of New York City and the people intertwined within it.
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Pioneer graffiti artist and painter Daina Higgins explores the shifting visual identity of urban spaces across the American Northeast. Our conversation, centered on Daina, also reads as a message to the emerging women graffiti artists she encounters on the streets. A how-to guide including the rules- yes, graffiti has rules- a way to value yourself as an artist, and a sisterhood joining the past and present.
Continue reading “Interview with Daina Higgins: On Graffiti, Risk, and the Art of Impermanence”