Dalit Gurevich’s A Memory Interwoven, curated by Jenn Cacciola at the Project Space of the Amos Eno Gallery, is a vivid exploration of transformation and adaptation through depiction of mixed-media landscapes and cityscapes. The exhibit, now open to visitors, captures the shifts in Gurevich’s life from the confines of a Brooklyn apartment during the pandemic to the liberating nature of Vermont and back to the bustling city life. Her paintings tell a story of seeking space and peace in a time of global uncertainty.
Installation image courtesy of Night Gallery and Marten Elder
A new show at Night Gallery in L.A. explores feminine conventions in painting. Large cardboard assemblages counter the traditional stretched canvas by repurposing a commonplace consumerist material. The Find is Jodi Hays’s first solo show in L.A. and a poetic contemplation on space, landscape, and material. Working in layered and dyed cardboard, Hays creates subtle landscapes reminiscent of long drives down winding roads. These works are odes to the quotidian, evoking both nostalgia and references to femininity, while straddling the line between painting and assemblage. Contributor Jac Lahav sat down with artist Jodi Hays and Night Gallery to talk about the show.
Hedwig Brouckaert, Flesh of Light (I), 2017, Mixed media on archival inkjet print on paper, 33.8 x 43.34 inches, photo courtesy of Hedwig Brouckaert.
The artworks featured in the group show The Sky is higher hereat Transmitter in Brooklyn reference the subtle boundaries between what is free of the physical and what is not—how can we mirror what we find in the sky and what does it reveal in us? Through a variety of mediums such as painting, textile, photography, textile weaving, and mixed media, Hedwig Brouckaert, Simone Couto, Edi Dai, Saba Farhoudnia, Victoria Martinez, and Ingrid Tremblay explore the vastness of the sky and find refuge in this great space with no borders. The curator of the show, Leila Seyedzadeh sheds some light on the curatorial vision and process.
Part 2: Mimi Czajka Graminski – Interview with Jennifer McGregor
Mimi Czajka Graminski, Petal Series Rose 1, 2020-2021, archival pigment print of photograph of rose petals, 10 x 10 inches
Landscape Deconstructed: Mimi Czajka Graminski and Linda Stillman is a virtual exhibition on view at the Hammond Museum and Japanese Stroll Garden website (hammondmuseum.org/virtual-galleries) until June 2022. It is curated by Bibiana Huang Matheis. The opening on September 11, 2021, included a virtual conversation with Mimi Czajka Graminski and Linda Stillmanmoderated byJennifer McGregor which has been distilled and reformatted for individual interviews with each artist.
The Hudson Valley artists met in 2011 and were immediately struck by the similarities in their work and have continued a dialogue since then. Landscape Deconstructed is the first time their artwork is presented in tandem and underscores the way that both artists discover elements of their surroundings and reassemble them in ingenious ways. Through distinct processes, they each preserve fleeting moments of beauty in nature while documenting a particular time and place.
Part 1: Linda Stillman – Interview with Jennifer McGregor
Linda Stillman, Daily Skies: 2020, February 15, 2020 focus, 2021, archival pigment print on paper, 19 x 13 inches
Landscape Deconstructed: Mimi Czajka Graminski and Linda Stillman is a virtual exhibition on view at the Hammond Museum and Japanese Stroll Garden website until June 2022. It is curated by Bibiana Huang Matheis. The opening on September 11, 2021, included a virtual conversation with Mimi Czajka Graminski and Linda Stillmanmoderated byJennifer McGregor which has been distilled and reformatted for individual interviews with each artist.
The PA based painter Theresa Hackett has been reflecting on landscape and environmental issues throughout her extensive body of work, Her paintings combine elements of drawing as well as different materials such as earth material and plastic. Altogether the process of coalescing all these elements is readily visible on the surface —the marks, bold shapes, vivid colors, texture— create landscapes resonating with vitality but also with an urgent sense of loss.
Todd Bartel in front of Pollination of Devonia, (Synterial series), 2002, gallery talk, L(and) exhibition, Room 83, Watertown, MA, photo courtesy of Ellen Wineberg
Todd Bartel came to serious collage because of an assignment he received on the first day of his first class as a freshman at RISD. He recalls the desks were strewn with magazines, and as soon as the course started, Professor Hardu Keck gave the students a prompt, “Create five collages that work with the following sentence: Surrealism is the chance happening of finding an umbrella and a sewing machine on a dissecting table.” Keck did not mention he was quoting Andre Breton, who was quoting Comte de Lautréamont (Isidore Lucien Ducasse). He expected his students to work with the strangeness of visual combination and found imagery. That was Todd Bartel’s introduction to Surrealism and chance coupling. He fell in love with collage immediately, coming up with forty-five collages by the first week. One of the key elements that draws him to collage is that it can involve a vast array of analog and digital technologies. “I consider myself an Omni-coupler,” he says.
In the group exhibition Painting the Narrative at the National Arts Club in New York City the artist Dee Shapiro brings together six contemporary artists who explore content and form of narrative painting ranging from interiors to landscapes, personal to imagined, realistic to fantastic. Featured artists: Jennifer Coates, Laura Karetzky, Judith Linhares, Ernesto Renda, Kyle Staver, and George Towne. The show runs through June 28th.
Alyssa Fanning in her studio in northern NJ, 2020. Photo courtesy of Emma Fanning.
A Thousand Moons and Suns at Platform Project Space in Dumbo, Brooklyn, features Alyssa Fanning’s elaborate and richly layered graphite and colored pencil drawings on paper, focusing on the duality of strength and fragility of the natural world. The work includes drawings from two related series, created through a process of combining projection, stencil and improvisation. The pieces range in size from 2.75 by 4.75 inches to 16 by 20 inches and within these intimate boundaries, Alyssa Fanning creates intricate worlds which invite you to plunge in. The exhibition opens June 5th with an opening reception June 4th, and runs through July 3rd, 2021.
In the studio in Newark, NJ, 2018. Photo courtesy of the artist.
New Jersey and Manilla based artist Katrina Bello draws on memories of her childhood experiences in the Philippines. Ranging from small to large scales. her drawings depict geological layers as vast fields of textures and colors – alluring us to sense the awe in vastness while also inviting us to get close and sense the fragility and tenderness in each detail.
