Diane Burko’s Greatest Emergency

Diane Burko, Amazon 7, Diptych A, 2022, mixed media on canvas, 20×20 inches,  In the collection of Joseph and Pamela Yohlin

This is part of a series of articles for the upcoming exhibition, The Greatest Emergency at the Circulo de Bellas Artes of Madrid. The exhibition is based on Santiago Zabala’s book, Why Only Art Can Save Us: Aesthetics and the Absence of Emergency. In this exhibition, ten contemporary artists rescue us into our greatest emergencies, that is, those we do not confront as we should. Each article in the series will contextualize these artists’ practices and explore how they are linked to Zabala’s aesthetic theory and the exhibition’s themes. The third article in this series highlights the work of American artist Diane Burko.


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Kejoo Park: A Reflective Landscape Architect Turned Visual Artist

Kejoo Park. Courtesy of the artist.

Kejoo Park is a Korean-American artist, landscape artist and architect. In her works, Park focuses on the duality of the internal and external worlds and her paintings, objects and installations manifest the alienation between man and nature; they address external nature, which is revealed in what man did not create himself. However, its potential and uniqueness lie in its creative ideas and actions, which develop through the influence of external structures and the engagement with culture and society.

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Eileen Neff: The Bigger World in Categories

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Self Shelf, UV pigment on dibond, 30 x 38 inches

Eileen Neff, a multidisciplinary artist with a background in literature and painting, has been creating “photo-based images and installations” since 1981. She recounts her understanding of poetry long before grasping painting. Her academic path led her from being an English major at Temple University, where she immersed herself in painting studios, to the Philadelphia College of Art (the recently closed University of the Arts). While teaching at a private secondary school, a tuition-free photography class captured her unexpectedly. “I began photographing pieces of my paintings and, before long, had convinced a couple of students to build a black and white darkroom in my apartment,” she recalls. This transition directed her focus to natural elements and interiors, subjects she still rigorously explores. Though she no longer paints, Neff states, “I still think more like a painter than a photographer; my photographs are still very driven by how a poem means.” Neff currently exhibits her work in In Some Light Reading, a group show at the Mitchell Art Museum featuring work by five artists and poetic texts by four writers addressing the life-making qualities of light. The show runs through July 7th.

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Travelers, Liars, Thieves at Garrison

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A group of white bears statues

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David Packer, Bears that Dance, ceramic with glaze, each 12” high approx, 2024

The three-person show Travelers, Liars, Thieves at Garrison presents the work of artists Margaret Lanzetta, David Packer, and Niki Lederer, who also curated the exhibition. Margaret Lanzetta’s paintings, crafted with acrylic on satin, cotton bedsheets, and sari fabric, explore the fusion of decorative traditions from various cultures, reflecting interconnectedness between cultural and political narratives. Niki Lederer’s artwork, made from repurposed discarded materials such as umbrella canopies and nylon threads, highlights environmental concerns. David Packer’s bear sculptures serve as a metaphor for personal, economic, and political upheavals. Collectively, the three artists re-imagine the world with united boundaries, new environmentalism, and migrating identities.

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Sari Carel: A More Perfect Circle

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Sari Carel, A More Perfect Circle, 2024. Courtesy KODA, photo by Argenis Apolinario.

Artist and activist Sari Carel created A More Perfect Circle, a series of ceramic sculptures inspired by the single-use coffee cup, a ubiquitous object that brings into focus people’s daily experience of interacting with trash. Lentol Garden in Greenpoint, Brooklyn, hosts its first public art project that includes columns built of stacked ceramic forms and disks in the shape of plastic cup covers. The handmade, intentional, and individualized quality of each unit contrasts with the mass-manufactured coffee cup that inspires this project. Some of the drawings, experiments and observations that inform the installation are on view at the Greenpoint Library. A series of programs with 350Brooklyn and Climate Families NYC accompany the exhibition. Find out more here. The project is organized by KODA, a New York-based nonprofit arts organization dedicated to mid-career artists of diverse backgrounds. It is curated by Jennifer McGregor, who interviews Sari Carel for the Hot Air section in Art Spiel.

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Peggy Cyphers: Passages at The Front Room 

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A painting of a mountain range

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Peggy Cyphers “Floating Passage” (2012-6) acrylic, sand, leafing on canvas 54”x50”

Peggy Cyphers’ exhibition at The Front Room Gallery in Hudson, titled Passages, integrates disparate painting traditions into abstract landscapes. The technique—fluid brush strokes combined with sand and paint pour—draws from Chinese landscape art, Native American traditions, and Postwar Abstraction. These paintings suggest the natural world’s fragility, mystery, and grandeur, recalling the upward gaze from the base of a canyon.

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This Bitter Earth: Deborah Wasserman at Kuma Lisa

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Deborah Wasserman, Rubble, 2021, ink and acrylic on paper, 28″ x35.5″

Rubble, mutated crop fields, floods, scorched earth, and occasional female figures floating or submerged unfold throughout the sixteen landscape paintings in Deborah Wasserman’s current solo show, The Bitter Earth at Kuma Lisa. Though the paintings differ in scale and media—from small acrylic and oil on panels to larger acrylic, oil, and stained clothes on canvas to medium-sized works on paper—they all share the sense of a world where multiple perspectives from different vantage points co-exist. Wasserman’s energetic strokes and searching lines create a rhythmic movement upward, downward, and sideways—reminiscent of the fluidity in Chinese and Japanese calligraphic scroll paintings and the clear, directional lines of a hand-drawn map. These linear dynamos intertwine with a palette of earthy tones, greens, yellows, oranges, blues, reds, and pure blacks, creating multiple vignettes within a layered landscape.

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Judy Hoffman: Evolvers and Wildtypes at Sculpture Space

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A person standing next to a sculpture

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The artist with Big Yellow, 18″ x 11″ x 7.5”; ceramic; 2017. Photo Credit: Linda Cunningham

Ten years ago, Judy Hoffman became enthralled with clay and hand-building. The current exhibition Evolvers and Wildtypes at the Long Island City Sculpture Space is her first solo show of these ceramic sculptures. Hoffman’s ceramics’ imagery and forms tap into a previous installation work made from sculpted paper pulp, natural materials, and man-made debris. Paper clay techniques permit the bonding of wet clay to fired forms, enabling the construction of diverse configurations. These components are conjoined to initiate a dialogue between organic and mechanical elements, yielding imagery that defies expectation. The artwork evolves through a rhythm of construction and deconstruction, encapsulating cycles of creation, deterioration, and renewal. Viewers are meant to encounter an elemental rawness, surprise, and a touch of humor.

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Simona Prives: towards the noise of dark waters at PRACTICE

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Simona Prives, installation view

Simona Prives’s latest installation at Philadelphia’s PRACTICE Gallery, towards the noise of dark waters, combines projection and collage to explore themes of renewal and decay. This site-specific installation by the Brooklyn-based multi-disciplinary artist features life-sized projections of collages built upon densely packed drawings, ink paintings, and various printmaking techniques. These collages suggest maps, geological patterns, and industrial imagery, creating abstract yet recognizable worlds.

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