Eileen Neff: The Bigger World in Categories

14. Self Shelf
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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Women Heavy at Gardenship Gallery

In Dialogue
Laia Cabrera and Isabelle Duverger, QUALIA – YOU MATTER TO ME, immersive installation, UltraHD, color, sound, 10 minutes, 2024. Courtesy of the artists

Throughout the group exhibition Women Heavy at the Gardens Gallery in Kearny, NJ, curator Donna Kessinger references contemporary and second-wave feminist ideas. The curator aims to create a clinical and visceral experience by investigating broad concepts and featuring among many notable others work by Charlie Spademan, Gwen CharlesJeanne Brasile, Josh Knoblick, Judi Tavill, Kasia Skorynkiewicz, Charlee Swanson, Lauren VroegindeweyKristin J. DeAngelis, Michael Angelo, Richard GainesSuzan GlobusVikki MichaliosA.V. RyanDonna Conklin King, Anna Ehrsam, and Doris Cacoilo. In our interview curator D. Kessinger sheds some light on her curatorial vision.

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Jiwon Rhie: Suddenly, Images Explain Everything at La Mama Galleria

Installation view: Jiwon Rhie: Suddenly, Images Explain Everything at La Mama Galleria. Photo by flaneurshan. studio. @flaneurshan.studio

Jiwon Rhie often explores moments of deep personal depression, social misanthropy, and cultural alienation in her work. You would never know it, though, from first viewing. Walking into La Mama Galleria in the East Village, NY, visitors are greeted by the playful whirring sound of over a dozen mechanical toy dogs, each covered in exploding layers of colorful, fake flowers. The dogs walk across a blue moving pad, bumping into walls, each other, or the artificial boundaries Rhie erected. In the center of the moving pad, two quarter candy vending dispensers shake with the motion of encased and enflowered toys, which act, of course, unperturbed by their enclosures. Viewers are invited to borrow quarters from the gallery to dispense pods filled with custom keychains and temporary tattoos from the candy machines. Though only a corner of a room within a larger exhibition, Rhie’s Flower Dogs make it impossible to enter the gallery without stopping to smile, take a photo or video, and procure ones own custom keychain art.

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Michal Gavish: Neuro Land at the American Association for the Advancement of Science (AAAS)

Photo Story
Synapsing 2023, mixed media on translucent architectural paper 76-82” H X 200” W (5 panels)

In planning her new exhibition at the AAAS gallery, artist Michal Gavish envisioned painted images of neurons enveloping the spiral-shaped gallery space, extending upward, downward, along, and away from the walls. Following an extensive phase of research and creation, spurred by personal family tragedies, Gavish created Neuro Land, a field guide to neurons. She devoted a piece to representing each type, painting a set of larger-than-life nerve cells images on fabric and paper. Gavish later assembled these pieces layer by layer, echoing the scientific method used in constructing representations of the unseen—similar to how MRI technology captures internal snapshots in segments and reconstructs them in three dimensions. While engaging with this invisible realm, Gavish reflected on her former practice as a scientist, interrogating the expansive vistas revealed through IR, X-ray spectra, or under the electron microscope.

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The Philosophy of Physical Existence at Tutu Gallery

A room with a fireplace and a rug

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Installation view of Gentle Mist group exhibition at the Tutu Gallery, Photo Credit: Yulin Gu and Yuhan Shen

The exhibition titled Gentle Mist at the Tutu Gallery in Brooklyn could be mistaken for primarily being idea-driven, in which case the ideas precede artwork production, along the lines of artists working with clarity of vision, such as the Conceptual artist Sol Lewitt and the Minimalist artists Tony Smith and Robert Morris. However, upon closer examination of the works by this group of New York and Baltimore artists, we realize that the makers of the art objects are more intuitively engaged with their art. There is a great deal of trial and error and improvisation in the creative process, and the ideation and production processes integrate up into a complex maneuver or dance.

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Mapping the Invisible at the Flinn Gallery

In Dialogue
Patrick Vingo: Mapping the Invisible gallery view 1.jpeg
Flinn Gallery Installation Photo by Patrick Vingo

Mapping the Invisible, the final show of the ’23-’24 season at the Flinn Gallery in Greenwich, Connecticut, showcases the work of Laura Battle, Jaq Belcher, and Amy Myers, each of whom contemplate and explore the mysteries of our existence through the lenses of science, math, and geometry. Co-curated by Francene Langford and Caren Winnall, the show runs till June 19, 2024. Langford elaborates on the curatorial process and highlights the work in this show.

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Travelers, Liars, Thieves at Garrison

Photo Story
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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Womanhood 102: Lesley Bodzy and Katie Commodore Challenge Gender Norms

Installation view Womanhood 102 (with Lesley Bodzy’s Soft Embrace I, 2022. Acrylic. 69 x 43 x 11 inches, on the left and works by Katie Commodore in the middle and on the right). Courtesy of the curator.

A golden, shimmering drapery cascades from the wall—the skin-like surface of Soft Embrace is from Lesley Bodzy’s experimental work with acrylic paint. She uses the liquid pigment as a sculptural material, shaped into a malleable cloth, reminding of Lynda Benglis’s poured latex on the floor or Eva Hesse’s visceral and alluring sculptures. The sensuous object evokes a tactile experience, an imagination of how touching it might feel, through looking. Matter surprises, entering a threshold between fluid and solid, elasticity and delicacy. Jamaica Kincaid’s 1978 story Girl tells a mother-daughter dispute about how a girl should behave. “…on Sundays try to walk like a lady and not like the slut you are so bent on becoming…” The mother’s advice seems endless and castigating, instructing every aspect of daily living. Side-by-side, Bodzy’s curved drapery recalls ‘how girls should behave,’ as it seemingly hides things beneath and its smooth surface presents an image of flawless elegancy, concealing feelings in a muted position.

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Judi Tavill: Entanglements at Ivy Brown Gallery

In Dialogue
The artist with PROBE, 20.5” x 15” x 15”, ceramic/paint/graphite/varnish, 2021, Photo Credit: Lisa Jennison

Entanglements, Judi Tavill’s solo show at Ivy Brown Gallery, unfolds a world of biomorphic abstractions. From intimate to immersive, her curvilinear ceramic sculptures feature intertwined graphite lines on the surface that seem to emanate from within and radiate outward. Tavill’s subsequent works on paper echo these forms, creating a captivating visual journey. Tangible forms of tree systems, mycelium networks, and biological structures intertwine with intangible psychological states, interpersonal relationships, and sociopolitical tension, entangling to form elaborate networks.

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