Patricia Spergel – On the Verge of Recognition

Patricia Spergel, Sita Ram, 2018, oil on canvas, 18” x 24”, photo courtesy of Tim Grajek

Patricia Spergel‘s vibrant oil paintings interrelate gesture, color, and form, to create imaginative spaces that are on the verge of being recognized – both playful and incisive, lightweight and massive. Patricia Spergel shares with Art Spiel her approach to color, how printmaking informs her painting, and her painting process.

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Ground Histories at PS122

Installation view of the East room: (right) david Goodman, (mid) Will Crowin, (left) Heidi Lau, photo credit Tommy Mintz

The grouping of mostly floor-bound sculptures in “Ground Histories”, the current group show curated by Will Corwin at PS122 Gallery, not only pulls our attention to the ground, but also makes us aware of what is underneath its surface – archaeological artifacts, graves, excavated memories. In the east room a triangular layout consisting of Will Corwin’s altar-like sculpture, Heidi Lau’s arched-shape ceramic sculpture sprawling, and David Goodman’s forte-like structure, create a sense of both tension and connectivity. Made of plaster and sand, painted with terra cotta and white tempera hues, and tied with rough ropes, Corwin’s “Jaw” is a rectangular free-standing sculpture that draws literally upon teeth and invokes the idea of the archaic – an architectural ruin from an unidentified culture, or an archaeological artifact with an enigmatic ritual significance. The tooth, a pivotal element in both forensics and bioarcheology, can be read in Corwin’s sculptures as a loaded metaphor for what it means to be human.

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Julie Peppito: Making Meaning out of Anything

Toxic Frock (This Changes Everything by Naomi Klein), 2016, canvas, trim, oil paint, gouache, thread, acrylic paint, found objects, fabric paint, fabric, grommets, variable dimensions (84″ x 156″ x 10″), photo courtesy Dan Gottesman

Julie Peppito‘s visceral and imaginative installations refer to our ecological, cultural, and political environments through explosive colors, textured surfaces, and interconnected loopy forms. Julie Peppito recalls how growing up in Oklahoma and later moving to NYC impacted her development as an artist. She shares some of her thought process, her work as an activist, and some of her projects.

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Yasmin Gur – Upcycling Waste

Yasmin Gur, My Old Room 2014, Urban Passages ,reclaimed wood

The Brooklyn based sculptor Yasmin Gur is fascinated with the process of upcycling materials such as reclaimed wood and transforming them into dimensional artforms which often respond to the site’s architecture. Gur is the producer for The Upcycle Junction Market, which gives her and ten other local artists a chance to take an active part in the urgent conversation about waste.

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Altoon Sultan – Luminous Clarity

Altoon Sultan, Convergence, 2018, egg tempera on calfskin parchment, 9 1/2 x 12 in. Photo courtesy of McKenzie Fine Art.

Altoon Sultan‘s egg tempera paintings depict close ups of agricultural equipment with incisive color and architectural forms. Her paintings consistently reveal inner tensions: the shapes are abstracted and literal, the colors are vivid and subtle, the space is shallow and dimensional. The artist shares with Art Spiel some of her rich experience as a painter, her work process, and her on-going projects.

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Tansy Xiao – The Echo of Journeying

Domestic Language, multimedia installation, 2017

Tansy Xiao is a curator, artist, writer, translator, and an overtly out of the box thinker. She shares with Art Spiel some insights on her upcoming curatorial project at Radiator, her art-making, as well as translation and writing processes.

AS: Tell me a bit about yourself and what brought you to art – writing, translation, curation and making.

Tansy Xiao: I wasn’t properly schooled, neither did I consider myself an artist when I was travelling around and painting abstract murals in exchange for food and accommodation. Now you might call it an unprompted residency. During my long trips and brief sojourns, I would write book length letters to my friends, with a mutual understanding that they were not obligated to reply. I joined and formed communities, then left them, until I have relatively settled in New York, a city with such transience that the fear of being trapped in a constricted niche no longer haunts me. That’s when I began my practice as a curator and translator. If I were to describe my status quo now, I’d quote D. H. Lawrence’s last paragraph in Rainbow:

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Formula 1: A Loud, Low Hum at CUE Art Foundation

Laurie Kang

The group show “Formula 1: A Loud, Low Hum” at CUE Art Foundation raises questions on the meaning of visual formulae in contemporary art without falling into the trap of formulaic. The genesis of this three-person sculpture group show started with an open call in which the curators Mira Dayal and Simon Wu asked savvy art viewers to suggest “formulas,” that is, combinations of materials and tropes used, or perhaps overused in art today. Out of the 67 formulas submitted, the curators selected the ones they both found intriguing and invited Nikita Gale, Amanda Turner Pohan, and Laurie Kang to come up with responses to formulas that invoked the hard and soft, technological and biological, individual and institutional. Gale’s body-like textures, Pohan’s sleek kinetic sculptures, and Kang’s architectural steel structure, all merge industrial off the shelf materials with invisible elements such as sound, vibration, and sensitivity to light. Like the relationship of body and mind, their fragmented materials assume meaning through the hidden forces that seem to operate them.

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Long Time Passing – A Campfire Story

Jeannine Bardo at Stand4

In her recent exhibition at the New York Stand4 gallery, Jeannine Bardo displays her art in the wall and on the wall. The Brooklyn artist paints, scratches, plasters, and finds objects from nature that add up to a set of narratives that she titles “Long Time Passing/ A Campfire Story.” The artworks are subtle, with almost no color. The carvings and objects are not clearly visible at first glance. Bardo invites her viewers to take their time, sit by the fire, and listen as she unravels her tales, using shiny spots that glitter along their progression. As the stories unfold, her calm work reveals a sense of menace that continues throughout the narrative path.

Lifelines, 2019; image by Laura Sacks

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Erika Ranee – Wired for Bold

Erika Ranee, You’re Your Own You, 2018, ink and crayon on paper, 12”x 12”

The tension between “inside” and “outside” in Erika Ranee’s paintings draw you into an enclosed space with an explosive and rhythmic internal movement. The vibrant colors, organic shapes, and linear marks that link the forms like veins, altogether resonate with living organisms, body, or microscopic landscapes. The artist shares with Art Spiel what brought her to art, her thought and work processes, as well as her current projects.

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Nota Bene with @postuccio [vi]

M. David & Co. ,Cosmic Veggies, El Sótano, C&M Creative

M. David & Co.

So certainly sonorous that it’s surely a song is the duet of solo shows by Len Bellinger and Denise Sfraga that didn’t just open, but robustly, vividly, gregariously and, in part, also florally burst into being at M. David & Co. a couple of weeks ago. The energy and dynamism of the works in both exhibits is readily infectious, such that the reception itself assumed the same airs. That might’ve even been what catalyzed some of the springtime climes we’ve felt of late. And if so, great. Let’s see more, please.

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