Tag: three-dimensional


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Posted on , by Etty Yaniv

Singing in Unison, Part 12: Painting in Space

Judy Pfaff, Barcelona, 1990, steel, plastic, glass, table and chairs, 168 x 168 x 168 inches

It began, as many enduring ideas do, over wine and conversation. Michael David, painter, curator, and gallerist of M. David & Co., was speaking at a dinner with Judy Pfaff about her close friend and early champion Al Held. The talk drifted to another dear friend, Elizabeth Murray, and then to her admiration for Frank Stella. From that exchange evolved the idea for Singing in Unison, Part 12: Painting in Space, curated by Michael David, and now on view at Art Cake in cooperation with The Brooklyn Rail.

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Posted on , by William Corwin

Into the woods – Immi C. Storrs at The Century Association

Immi Storrs, Trees with Man and Birds

Immi C. Storrs is obsessed with depth: she manipulates it, refusing to render it as-is. Instead, her adventures in depth-perception range from steeply sloping forests—her favorite subject— to thickly layered glass light-box dioramas, and to truncated and oddly meshed animal forms in bronze. While the animals merge together into multi-legged seemingly mythological beasts, or emerge pseudo-two dimensionally from a bronze cube, it’s less about the creatures themselves—horses, sheep, and oxen, but more of a slow-down lugubrious space in which forms melt together and time becomes unpredictable.

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Posted on , by Art Spiel

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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Posted on , by Alexandra Israel

Natale Adgnot: What We Are Really Seeing

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Portrait of Natale Adgnot in the studio. Photo courtesy of the artist.

What does Cognitive Bias and Fallacy Look Like? Natale Adgnot’s Work Tests What We Are Really Seeing. Natale Adgnot’s work explores the power of psychology and the impact that cognitive bias has on our everyday life, routines and choices. Her work incorporates patterns and systems to explore different cognitive biases such as stereotyping and pareidolia (seeing patterns in random information) to reflect on the elusiveness of truth. Best known for wall sculptures made of painted thermoplastic adhered perpendicularly onto birch panels, she challenges the viewer to consider her work from multiple perspectives. Her new series, Bird Brains, continues to delve into her exploration of bias and fallacy. Bird Brains matches entries in the cognitive bias codex with the birds that best exemplify them. From black swan theory to the duck test to the proverbial canary in the coal mine, she taps into this rich language to point out the stunning variety and sheer magnitude of ways we humans misconstrue the world.

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Posted on , by Art Spiel

Ballad of Spread – Michal Gavish at Delaware Contemporary

Art Spiel Photo Story

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Exponential Bloom, 2021

During the past year of the pandemic, Michal Gavish used her background as a scientist to research and draw on the sub-microscopic struggle between viruses and our body. Throughout this year of isolation, she became absorbed with the science and imagery of these biological attackers facing body defenders, the antigens against the antibodies. Imagining each virus from its initial exponential expansion to its final abrupt elimination, she sketches and experiments with color-field displays generated by genetic research. Her visual search incorporates mixed media in which she adopts the color-coded language of molecular modeling that she has learned as a chemist.

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Posted on , by Etty Yaniv

David Samuel Stern’s Portraits: The Mechanics of Longing

For photographer David Samuel Stern’s photography typically serves as a departure point for crafting tangible objects. In his Woven Portraits series for instance, Stern physically assembles pieces of his photographic portraits into new forms, aiming to fuse the notion of photographic representation with its own material nature, making a new essence. The imagery in this series may bring to mind Cubists’ and Futurists’ paintings, or David Hockney’s Polaroids, but in Stern’s  hybrid artworks, the imagery derives from a photographer’s imagination and can be distinctly traced to our digital age – the manual  counterpoints the virtual. Here Stern shares with Art Spiel some of his ideas, process, and projects.

Aaron; 2015; Photographic prints on archival translucent vellum, physically cut and woven together; 40 x 31 x ¼ in, 101.5 x 78.75 x 1.25 cm; Courtesy David Samuel Stern

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