silkscreen – Art Spiel

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July 28, 2024December 7, 2024, by Etty Yaniv

Spiritual World at RAINRAIN

Photo story

Installation view, photo courtesy of the gallery

Spiritual World, the title of the current group show at RAINRAIN, references Alfred Stieglitz’s Spiritual America, a 1923 photograph of a harnessed, castrated horse. The powerless restrained stallion—a traditional American symbol of unstoppable prowess—symbolized for Stieglitz the loss of spirituality in his contemporary American culture. The organizer of Spiritual World, Theodor Nymark, a Copenhagen-based artist who also shows work in it, brought together seven artists from Denmark, Korea, and the USA to explore how spirituality can exist today outside conservative religious ideals and ultra-liberal new-age paganism. In a text for the show, Nymark specifies further how he sees spirituality—”like a multifaceted metaphor, many-sided, a prism with no central outpost, only imagination. Not just a lake, a mirror. Not just a car, a vehicle.” These notions reflect the overall premise of this show.

May 29, 2024May 28, 2024, by Liz Maynard

Dreams of a Common Language: Elizabeth Duffy, Lu Heintz, and Anna McNeary In OVERLAP

Liz Maynard

Installation View: Left to Right Lu Heintz, *Everything is Fiber: A New Lexicon*, 2024 Graphite on paper Elizabeth Duffy *Wearing / Ceremonial Costume for Gathering Rehill (1904-1972)*, 2023-2024, Unraveled worn braided rugs made into clothing, braided rug poncho with corn-on-the-cob holders, copper dandelion leaves, copper formed shoes, rug remnant; Anna McNeary, *Common Set*, 2024 Fabric, velcro, wooden rack Dimensions variable

The rhymes, homophones, and translations between the work of Elizabeth Duffy, Lu Heintz, and Anna McNeary are object manifestations of “Dreams of a Common Language.” The exhibition at Overlap Gallery in Newport, RI, offers up sweet and salty juxtapositions of textile, prints, sculptures, and installations of Providence-based artists. It takes its title from Adrienne Rich’s 1976 volume of poetry, which ruminates on the possibilities of life liberated from patriarchal constraints and the feminist community emerging from speech in common. Duffy, Heintz, and McNeary explore textile not just as a shared (and often gendered) medium but as a conceptual framework.

March 7, 2024March 2, 2024, by Etty Yaniv

Salted not Sugared at Ben Shahn Center

In Dialogue

A round yellow and black object with a red dot on it Description automatically generated — Andrew Cornell Robinson, glazed porcelain, with underglaze silkscreen print decal transfer, 16 x 16 x 3 inches. Photographer Martin Meyers, 2024

Andrew Cornell Robinson, the 2023 grand prize winner of the William Patterson University Galleries’ national juried printmaking exhibition, Ink, Press, Repeat, presents a decade of exploration in his exhibition, Salted Not Sugared. This retrospective, the first extensive survey of his interdisciplinary art, is showcased at the Ben Shahn Center for the Visual Arts, curated by Casey Mathern. His work, spanning oil painting, printing, drawing, and assemblage, engages with queer and peculiar revisionist histories, inviting viewers into a reflective dialogue where personal histories, social narratives, and abstract forms converge.

September 6, 2023September 4, 2023, by Xuezhu Jenny Wang

The Art of Getting It Together

Jesse Benson, *Packaging*, 2003/2023. Ephemera from all projects completed in grad school, vacuum-formed plastic, plexiglass, silkscreen on board. Installation dimensions variable, individual dimensions 21 x 28.8 x 3 in. Photo by Jeff McLane. Courtesy As-Is LA.

In Organizer, Jesse Benson’s first solo gallery show since 2017, the Los Angeles artist unpacks the “dialectic of order and chaos” by introducing heterogeneity to organizing systems.

July 17, 2023July 15, 2023, by Sara Farrell Okamura

Remnants of the Past As Omens of the Future at Turley Gallery

Martine Kaczynski, *Threshold,* Installation, Turley Gallery

Why is home so important? Is it like religion, where we have faith that once we turn the key in the door and step over the threshold, we are safe from all those events that we believe cannot happen to us, orhappen in the place we call home? We now live in a world where the mundane, the environment we know as home is threatened. Common places are invisible because they are part of the warp and weft of our everyday existence. Our personal landmarks such as the library, the elementary school, and the ugly grocery store we quickly stop in, are no longer safe spaces. Self help and self care are great strategies for maintaining equilibrium, but may not extract the roots of our anxiety. Art obviously cannot solve these issues, but sometimes an artist who combines intellect, skill, and personal experience can act as the parakeet in the mine shaft.

February 24, 2023February 24, 2023, by Art Spiel

Jessica Weiss PRESENT at 490 Atlantic

Featured Artist

A couple of paintings on a wall

Description automatically generated with low confidence — Jessica Weiss, installation view

The exhibition PRESENT at 490 Atlantic gallery features nine paintings by Jessica Weiss. In this body of work, made during the pandemic, Weiss continues to combine wallpaper, silkscreened patterns, fabric, and paint—utilizing the optical and psychological power of these scraps from domestic life. Within the colorful and tactile surface, figures appear, and gesture becomes important. The exhibit opens Saturday February 25th, 5-8pm.

April 18, 2022February 25, 2022, by Etty Yaniv

Anonda Bell – Incidental Encounters with Nature

A picture containing wall, indoor, floor, standing

Description automatically generated — Installing “Belladonna” piece at Village West Gallery in Jersey City, March 2020. Photo courtesy of Michael Endy

Artist Anonda Bell reflects in her mixed media installations on a range of complex notions—from exploring different ways women have been perceived throughout history to environmental concerns. The entry point to her projects include homages to historical figures like the American feminist Charlotte Perkins Gilman who protested in her book Yellow Wallpaper the oppression of women at the end of the 19th century, and the Australian Lindy Chamberlain who was falsely charged with murdering her baby; references to cultural trends in psychology related to women’s anxiety and Hysteria; or environmental concerns referencing Biophobia and extinction.

October 10, 2021November 2, 2022, by Art Spiel

Simonette Quamina – Canboulay at Smack Mellon

Featured Artist

The artist and her work, photo courtesy of Camille Thomas

Canboulay, Simonette Quamina’s solo exhibition at Smack Mellon, features a series of immersive wall-sized visual horizons which borrow the methodological framework of a caesura, a break in a poem. The notion of “break” exists within each work through cuts and rips as well as overall, separating elements of her continuous visual story into vignettes of individual works. Through her use of sophisticated variety of collage and printmaking techniques, Quamina integrates narratives referencing histories such as socioeconomic ramifications of sugarcane and familial subjugation, into complex, dark surfaces.

August 23, 2021July 23, 2021, by Etty Yaniv

Dee Shapiro – From Fibonacci to Bathers

A person smiling in front of a curtain

Description automatically generated with low confidence — The artist at the Islip Museum. “Cornered”, watercolor on graph paper, 40 x 40 inches, 1975-76

Dee Shapiro’s paintings have evolved over decades of a rigorous thematic and formal search—how colors and shapes can express the intricate relationship between pattern, geometry, and nature through a two- dimensional form? With what appears to be a strong impetus to constantly re-invent her painterly vocabulary, Dee Shapiro’s work keeps us on our toes with each of her series of work, which she sees overall as evoking an alternate reality with absurd connection. From her early Fibonacci progression color coded on graph paper, to her later representational Bathers series–Shapiro’s paintings assert themselves with a life of their own, without a need for any explanation.

February 11, 2021November 2, 2022, by Adam Aslan

The Process of Weaving the Intentionally Fragmented at Transmitter

Installation of Patchwork at Transmitter, image courtesy of the gallery, Brooklyn, NY (2021)

The Brazilian educator and philosopher Paulo Freire speaks on the essential character of dialogue for revolution. Seen as the thread that connects communities to revolutionary ideas and actions, dialogue is a continual process. A continuum revolves visually and semiotically within the walls of Transmitter gallery these days with the new exhibition Patchwork. Time is of central significance as the theme of fragmentation provides illuminative access through each of the three artists in the show, highlighting complex pasts that beget the enormous project of both appreciation and reconciliation via understanding the significance of each layered memory.