relief sculpture – Page 2

May 23, 2020May 30, 2020, by Etty Yaniv

Artists on Coping: Lori Horowitz

During the Coronavirus pandemic, Art Spiel is reaching out to artists to learn how they are coping.

C:\Users\Lori\Desktop\roots and finishe exodus\exodus install 1 110.jpg — *Exodus, 2020, mixed-media (fabric, torched copper, aluminum and brass, fiber and photography). Michael David & Co., Bushwick. Photo courtesy of the artist*

Using eclectic techniques and materials, Lori Horowitz explores the overlooked interactions between individuals, exploring their social disconnect as well as common humanity. Since 2015, she has had six solo exhibitions and participated in numerous national gallery and museum group shows. She is also an independent curator, as well as the former curator and executive director of Studio 5404 Art Space in Massapequa, NY. Currently, she serves on the board of directors and advisory boards for two not- for- profit arts groups. Recently, her work has been featured in the NY Times, as well as local and international publications such as 1340 Art International, Azucar and Apero Magazines, in Berlin, Amsterdam and Paris.

March 16, 2020July 10, 2020, by Etty Yaniv

William Corwin – Flattening of Time

Pazuzu, 2018, hydrocal. Photo courtesy the artist

Experiencing William Corwin’s sculptures may resemble opening a time capsule filled with mysterious objects made of familiar materials like sand, rope, clay and wood. By drawing on references ranging from architecture to archaeology, totems to teeth, Corwin’s sculptures resonate with archaic civilizations — removed yet urgently present. William Corwin shares with Art Spiel what brought him to sculpture, takes a look at some of his projects, and sheds some light on his curatorial and art writing practices.

June 6, 2019November 15, 2020, by Etty Yaniv

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.

May 20, 2019May 21, 2019, by Michal Gavish

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

February 19, 2019February 19, 2019, by Etty Yaniv

Ryan Sarah Murphy – Arriving at an Unknown Endpoint

Ryan Sarah Murphy, Strike, 2015, found (unpainted) cardboard, foamcore, 26 ¾ x 25 ½ x 3 ¼ inches, Photo courtesy of Jeanette May Studio

Ryan Sarah Murphy‘s engaging multiple series of collages, photographs and videos are driven by material and process. Her process resembles a graceful and skillful dance – the steps are predetermined but the movement flow is intuitive and imaginative, or as she says, it altogether represents a collaboration between herself and the material.
Ryan Sarah Murphy shares with Art Spiel what brought her to art, some insight about her ideas, process, and current projects.