At Silver Art Projects, In the End, Everything Gives brings together more than thirty artists from the Women Sculptors Group (WSG), a New York–based network of women-identifying and non-binary sculptors that now includes over 350 members. Installed within the residency spaces at 4 World Trade Center, the exhibition carries the energy of a working community—artists connected through an ongoing commitment to sculpture and material inquiry.
Synapsing 2023, mixed media on translucent architectural paper 76-82” H X 200” W (5 panels)
In planning her new exhibition at the AAAS gallery, artist Michal Gavish envisioned painted images of neurons enveloping the spiral-shaped gallery space, extending upward, downward, along, and away from the walls. Following an extensive phase of research and creation, spurred by personal family tragedies, Gavish created Neuro Land, a field guide to neurons. She devoted a piece to representing each type, painting a set of larger-than-life nerve cells images on fabric and paper. Gavish later assembled these pieces layer by layer, echoing the scientific method used in constructing representations of the unseen—similar to how MRI technology captures internal snapshots in segments and reconstructs them in three dimensions. While engaging with this invisible realm, Gavish reflected on her former practice as a scientist, interrogating the expansive vistas revealed through IR, X-ray spectra, or under the electron microscope.
At the crossroads of architecture, painting, and sculpture, one encounters the awe-inspiring steel monoliths of Tony Smith (1912–1980). Tony Smith: Wall, New Piece, One-Two-Three showcases the evolution of the artist’s sculptural practice throughout the 1960s and 1970s.
Franziska Warzog, Creature covered by tongues, textile sculpture, 2008, 134 x 27 x 12 cm, (52.8 x 10.6 x 4.7 in), photo taken by the artist’s husband
The Hanover based artist Franziska Warzog makes textile sculptures characterized by bold shapes and vivid colors reminiscent of patterns in nature. As a daughter of two visual artists, she was introduced to design principles since early on.
Loren Eiferman sees her work as the “ultimate recycling”. She collects sticks and branches that have fallen to the ground and typically forms her sculptures by joining together hundreds of small pieces of wood into a cohesive whole through a unique technique she has developed for over 25 years.
Step off of the gray pavement, step out of the chilly dullness of an impending New York City Winter, traverse the threshold of Next to Nothing Gallery, and indulge in the celebration of painting currently on view at 181 Orchard Street.
Installed works by Jason Stopa and Susan Carr, photo courtesy of the gallery
“Plush Paint: please do not pet, caress, fondle” features the work of Jason Stopa, Osamu Kobayashi, and Susan Carr in a bounty of paintings and sculptural hybrids that boast tenacious gestures, mysterious shapes, and amped up colors. As the eyes adjust to the stark whiteness of the minimalist space, at first glance the work appears as a collection of unearthly gemstones unified by candied commercial hues and vibrating combinations of paint. Robert Erani, Gallery Director and Curator employed the cohesion of color to serve as an “accessible commonality that any viewer can appreciate.” For Erani the visual pleasure of these works seduces the viewer to take a deeper look and discover less obvious nuances that distinguish the individual work of each artist.
