installation – Page 12

March 31, 2021March 22, 2021, by Etty Yaniv

Performance Anxiety at Allegheny College Art Galleries

In Dialogue with Paula Burleigh

Installation view, *Performance Anxiety,* on view at the Allegheny Art Galleries, 2021. Featuring works by Eric D. Charlton, Taha Heydari, Wednesday Kim. Image courtesy of the Allegheny Art Galleries.

The three person show Performance Anxiety at the Allegheny Art Galleries in PA features videos, paintings, and sculptures by Eric D. Charlton, Taha Heydari, and Wednesday Kim, who all respond in their work to the intense digital terrains most of us inhabit, exploring how the intrapersonal and interpersonal elements interplay— how self-image is being manifested and how does it affect communication with others in an ever-shifting social media landscape? Paula Burleigh, the curator of the show and the gallery director, elaborates on the premise of the exhibition, the artists’ artwork, and her curatorial process.

March 15, 2021July 22, 2021, by Etty Yaniv

Beth Dary at The Front Room Gallery

Art Spiel Photo Story

The Front room Gallery hosts an online tour of “Aqua/Terra”, the beautiful and evocative solo exhibition of sculpture, installation, photograms, layered egg tempera and encaustic drawings by New York Artist, Beth Dary. The artworks in “Aqua/Terra” explore the power of water throughout natural forms and forces of nature, as a force to shape the land, sustain life, and destroy it. Beth Dary’s work also responds to the effect of human activity on land and water – bubbles of ancient carbon dioxide captured in Arctic ice, the rising tides due to the climate crisis, and fractal patterns formed by the liquid contaminants in urban runoff – in transition due to our culture’s impact on the environment.

March 12, 2021March 13, 2021, by Sophia Ma

Belonging to P.A.D. (Project Art Distribution)

A picture containing text, building, outdoor, scene

Description automatically generated — “Popular Jewelry” featuring Arkadiy Ryabin, Johanna Stroebel, Clarissa Hurst, and Ann Treesa Joy, on September 26, 2020, photo credit to Adam Golfer, image courtesy of P.A.D.

The artist-run Project Art Distribution (better known as P.A.D. or @project_art_distribution on Instagram) hosts day-long outdoor exhibitions on versatile packing 72”x80” pads. Set up in Soho, one of New York’s art and retail hubs, the padded surfaces become the metaphorical and physical exhibition space of the usual pristine white cube galleries. Unlike the current Soho rental clientele of luxury brands and gallery spaces, P.A.D. has no walls. Lacking barriers in more than one way, the sidewalk gallery provides the public, the artists, the curators, and the organizational collaborators a welcomed openness to art and discussion. The project creates an ongoing network that ever-expands its community.

February 15, 2021February 15, 2021, by Etty Yaniv

Greg Drasler: Crowded Places / Open Spaces at Betty Cuningham Gallery

In Dialogue with Greg Drasler

Crowded Places / Open Spaces installation Betty Cuningham Gallery

Greg Drasler came to be a metaphorical figurative painter when he lost everything he owned in a fire in 1978, except for two paintings. At that moment he decided to focus exclusively on painting — he was a painter and painting would be everything he needed. He began to rebuild his pictorial world with scenes from the self-help DIY magazines and for over 40 years has continued to explore and expand his visual vocabulary through several bodies of work. Greg Drasler says he identifies with the subjects of his paintings “as personal questions, metaphors, and allegories often responding to social and cultural topics.” His current solo exhibition at Betty Cuningham Gallery includes both works from his lengthiest series, the Hats Paintings, and some from his most recent series, the Road House paintings. Sparked by the effects of social distancing due to the pandemic, the paintings overall assume another layer of meaning.

January 22, 2021January 22, 2021, by Etty Yaniv

Fellow Travelers at PeepShow Space

Photo Story

Fellow Travelers, PeepShow Space’s fifth and final exhibition, features the work of Joshua Rosenblatt, Jason Phillips and William Norton. The three artists reflect on travel, which at this moment is impossible in their lives as they shelter, wait and dream about places that no longer exist, except in memory.

December 30, 2020November 25, 2020, by Etty Yaniv

In Accordion Time, Unfolding : A Pandemic Archive at Ursa Gallery

In Dialogue with Alexandra Rutsch Brock

Patricia Fabricant, Jo Yarrington, Katherine Jackson, Ellen Hackl Fagan, Alexandra Rutsch Brock, Patricia Miranda (missing Josette Urso) – watching President-elect Joe Biden’s victory speech Nov. 7, 2020 – after our gallery reception. Photo courtesy Dustin Malstrom

The group exhibition In Accordion Time, Unfolding : A Pandemic Archive marks the opening of Ursa Gallery, an experimental gallery showcasing contemporary art and design located at the historic Arcade Mall in Bridgeport, Connecticut. This art venue was founded by Cris Dam and conceived in collaboration with Dustin Malstrom. Cris was also cofounder of Dam Stultrager in 1998 – one of the earliest galleries in Williamsburg, Brooklyn. Co-curated by Alexandra Rutsch Brock and Patricia Miranda, the exhibition features mail art in the form of accordion-fold books and digital dialogues by the London Calling Collective over the challenging past year. It runs through February 12th, 2021.

December 14, 2020December 14, 2020, by Etty Yaniv

Eirini Linardaki: Occupying Public Spaces

In Dialogue with Eirini Linardaki

The artist in Radiator Gallery, interactive magnetic collage artwork

For Greek based artist and activist Eirini Linardaki, who had been born and raised in Athens than moved and resided in France, cognitive diversity is at the forefront of her art projects. She sees her strength in building networks with different voices which help create an environment where diverse Ideas matter more than individual achievement. Through diverse social engagement methods, she aims to show that art is activism. She strongly believes that art can create direct channels for feeling and understanding within public spaces and communities, building trust and hope.

November 18, 2020November 18, 2020, by Etty Yaniv

Americans Looking In at The Center for Book Arts

In Dialogue with Emilie Ahern and Sherri Littlefield

The curators, Emilie Ahern (left) and Sherri Littlefield (right), stand in the exhibition space among the works from Americans Looking In. Photo credit: Andrew Littlefield

In the thought-provoking group show Americans Looking In at the Center for Book Arts the curators Emilie Ahern and Sherri Littlefield explore what it means to be “American” mostly through media such as photography, book art, sculpture and prints. Their personal experience of coming from multicultural backgrounds and growing up in the States has prompted them to ask the question – What is American culture today, and what does an American look like?

November 5, 2020October 28, 2020, by Etty Yaniv

All the Way to Hell

In Dialogue with Eliza Evans

Last year, after artist Eliza Evans learned she had inherited the equivalent of three acres of mineral rights in Oklahoma, she started receiving offers from agents for fossil fuel companies to buy or lease these rights. After researching the law, Eliza Evans learned that she could not refuse and that the property could be fracked without her consent if the neighboring property owners agreed. Eliza Evans says that since like most artist she does not like being told what to do, she took a deep dive on mineral rights and property law to see if she could create some options. This resulted in the conceptual art activism of All the Way to Hell.

All the Way to Hell is giving away fractions of this property to as many people as possible. Nearly 300 people are participating so far, and signups will remain open until mid-December. This aggressive fragmentation of the property drives up the driller’s acquisition costs and will impede their interest. All the Way to Hell is a platform for a new form of protest, the foundation for a 100-year sit-in. Although each fractional mineral property is minuscule from a practical and legal perspective, the space it occupies is vast. All the Way to Hell may be the largest land art project ever.

September 22, 2020September 22, 2020, by Etty Yaniv

Tirtzah Bassel in Domestic Brutes at Pelham Art Center

In Dialogue with Tirtzah Bassel

Tirtzah Bassel grew up in Israel, the oldest of eight in a Jewish Orthodox family. Her father is a traditional scribe and her mother, a ballet dancer by training, was the homemaker when they were growing up. Although both of her parents were very creative and the value of making things by hand was instilled early on, she didn’t know any professional artists and had no concept that making art was something she could do as an adult. This changed when she took a night class at the Jerusalem Studio School in her early twenties. She recalls how she was immediately drawn to the intensity of the atelier-style learning environment, drawing and painting from observation, and the methods of the Old Master paintings. She later decided to pursue an MFA at Boston University and subsequently moved to Brooklyn. “Perhaps it was the continuous traversing of worlds – religious and secular, Israel and the US, Hebrew and English – that led me to ground my work in close observation of seemingly mundane situations,” she says.