Installation view, Sylvia Schwartz, Temperature Gauge and Word Landscape and Green, photo courtesy of Helm Contemporary
In MIST, four artists are brought together to take the inspiration of summer, and find a way to break through the heatwaves that have recently hit New York. There is a dialogue between the artists and their various takes on works on paper, bringing forth summer sensibilities, airiness, freshness, and a feeling of being free. Each artist offers a different series of works.
Since the beginning of time, artists have drawn inspiration from and found it within the natural world. This month, Philly boasts a variety of work where artists are going deeper to discover what can be imitated and learned from the evolutionary beings around us. Some artists take direct motifs like coqui sounds or daffodil patterns, while others venture into new utopias or dreamworlds to live in as the real world diminishes underneath their feet. Studio 105 at RAY presents a bold reimagining of electrical current and vibrations that echoes the power of communication and sound. Philadelphia Magic Gardens reframes the purpose of the mushroom not just as a decomposer but as a symbol of rebirth and perseverance. The Arts Leagues suggests a world where the organic is depleted and society must build again. Arch Enemy Arts throws logic out the window as they find mercy in the mystical realm.
(l) Mona Brody, Getting Answers, 60” x 48”, 2023, and (r) Anne Trauben, a section of the installation, Step Up on a Stool to Reach the Sky, 2023
PE Pinkman, the chief visual arts curator and executive director of the Watchung Arts Center in New Jersey, notes that two exhibitions — Mona Brody: Portals, Apparitions, and Other Voices and Anne Trauben: Step Up on a Stool to Reach the Sky — emerged from separate discussions with each artist. For over 45 years, the nonprofit Watchung Arts Center has been a prominent stage, showcasing works from regional artists in New Jersey and New York. Their central mission is to provide visual artists with a platform for engagement, promoting arts education while offering unique exhibition opportunities. At a first glance, both Mona Brody’s paintings and Anne Trauben’s installations appear straightforward. However, Pinkman emphasizes that they reveal deeper layers upon closer inspection. He observes a fascinating contrast: while Brody’s art unveils forms from the shadows, Trauben emphasizes light and shape within a darkened setting.
The oil paintings featured in Shadow Weaving, Melanie Daniel’s second solo show at Mindy Solomon, depict magical landscapes of forests, ponds, and their inhabitants—a moth, a pair of coyotes, a beetle, an occasional mystical spirits. The paintings begin for her as meditations and transform into fleeting environments—both hallucinatory and recognizable. The show runs through March 18th. 2023.
Elena Chesnykh’s paintings at Space 776 depict women in landscapes—the vitality of the body merges with a dynamic natural world into a sensual dance of color and shape, sometimes in reference to harsh current events such as the war in Ukraine. The show, curated by Dasha Bazanova, will be on view from July 22 to August 17, 2022.
Thomas Motley in conversation with Elisa Lendvay and Sara Cardona
Installation view, Meridian, Haggerty Gallery, photo courtesy John Watson
The unique design and location of the Beatrice M. Haggerty Gallery at The University of Dallas proved a most fitting space for the exuberant content of Sara Cardona and Elisa Lendvay’s exhibit, titled Meridian. Picture a giant treehouse, spanning the edge of a steep ravine, extended over a leafy canopy of thick post oak trees. From the gallery’s atrium entry, visitors enjoy a dramatic bird’s-eye view of a sylvan campus below. Under gallery director John Watson’s sculptor’s eye, Cardona’s and Lendvay’s lively celebration of nature, a Gaia shout-out, projected joyous meridian energy-lines from gallery to surrounding woods. Meridian expressed the artists’ shared interests in earth’s natural shapes and cycles, regeneration of discarded or out-of-fashion cultural designs and hardware, and celebration of movement, of dance.
Elise Ferguson. Pebble. Pigmented plaster on MDF panel, 2018. Photo courtesy of Able Baker.
“Wisdom was the feeling for what is high, great, broad, sharp, even, heavy, bright, light, colorful . . . Wisdom was the feeling for an essentially shared reality, for the mystical, for the indeterminate indeterminable, for the greatest determinacy of all . . . but art is reality, and the reality we share must assert itself beyond all particularity.” Hans Arp, Introduction to a Catalogue
POP GOES THE WEASEL- An exhibition that asks the question “why not”?
POP GOES THE WEASEL, installation view, photo courtesy of the curator
The group show “Pop Goes The Weasel” at The Williamsburg Art and Historical Society brings together a group of nineteen artists from Japan and the US, fifteen women and four men who are working in seemingly disparate ways. Curator and artist William Norton presents his premise as “Why not”? Why not bring together artists who simply share their pathos, political intent, psychological depth ,a love of materials, and above all, their joy in creating art? Continue reading “Pop Goes The Weasel”