domestic objects – Art Spiel

July 5, 2023June 14, 2023, by Art Spiel

Gathering with Asianish

In Conversation

**Asianish potluck gathering (photo credit: Sara Jimenez, September 22, 2022)**

Co-curators Cecile Chong and Sophia Ma are delighted to present “Gathering,” an exhibition that showcases the connections between forty-five Asianish artists and their artwork. Asianish, an informal collective of AAPI artists and art professionals, was established in March 2018 to foster a safe and inclusive environment for a diverse community of Asian identities. Through conversations, artistic expression, and shared meals, the group explores themes such as code-switching in art contexts and the longing for a sense of belonging in their adopted homeland. The exhibition will be held at Tiger Strikes Asteroid–New York (TSA-NY) in Bushwick from June 24 to July 30, 2023, and at FiveMyles in Crown Heights from July 8 to August 13, 2023.

April 7, 2022November 2, 2022, by Art Spiel

Daniel Wiener: At Home With Scallywags and Rapscallions at Pamela Salisbury

Featured Artist

Daniel Wiener, Six Custodians, 2021, Apoxie-Sculpt and dispersed pigments, 12.5” x 29” x 29”, photo courtesy of Daniel Wiener

The exhibition, At Home with Scallywags and Raspcallions, brings together Daniel Wiener’s work from the past 12 years. It focuses on his sculptures which also have a practical domestic use. As he says—the tables, stool, benches and bowl are familiar objects but in my hands, as with all of my work, they still uncover subconscious inner demons.

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.