Curated by T. Michael Martin, the large retrospective at the Clara M. Eagle Gallery allowed for a deep look at the shifts throughout D. Dominick Lombardi’s almost five decade long career. From the more Surrealist inspired paintings to assemblage sculptures, High + Low engages with Lombardi’s playful experimentation of art and found materials and highbrow and lowbrow visual references.
The Frist Art Museum in Nashville does two things remarkably well. Like other capitol city museums throughout the United States, they present fully resolved, educational exhibitions filled with extraordinary works of art supported by thoughtful text and labeling.
Continue reading “Seeing, Believing and Understanding”
Puns abound in Carl Fudge’s work. An initial loom is formed of Japanese anime and Ukiyo-e prints. Child luminaries radiate mystical powers, while behind screens, kimonos beckon.
Continue reading “Provocative Lattice”
The exhibition A Beautiful Day with a Small Storm at the Christopher Cutts Gallery is a unique one. A month before its opening in June, the paintings by Madrid artist José Manuel Ciria were a mere glimmer in the artist’s eye. The works were in fact created in a studio directly above the exhibition space. In that sense, what is on display has descended from above, their generation a touch miraculous in the speed of their execution.
José Manuel Ciria in studio at Christopher Cutts Gallery, 2019
New York City is constantly pushing the world of art to reboot itself. To see how a young Korean-American artist is contributing to this ceaseless reinvention in a promising way, go to 69 Eldridge Street in Lower Manhattan and there, in a popup display space exemplifying cultural entrepreneurship, you will encounter sixteen paintings that will give you a memorable viewing experience.
Solitude surrounds the guest when entering Emmanuel Monzon’s exhibition at Robert Kananaj Gallery in Toronto. All the photographs seem similar at first glance in their quiet compositions and monochrome colours. Taking a closer look, one recognizes their nuances – and becomes mesmerised by their magical beauty. They radiate an ephemeral, almost surreal tension that captivates the viewer.
Humans have always wanted to save their memories. From the beginning of history, they carved them into stones, wrote them on parchments, made millions of photographs or selfies. Iris Häussler buried the items that hold her memories in wax – literally. You might think: a nice try, but it won’t hold, it’ll melt – but you’re wrong.
Continue reading “Lost Gazes: Iris Häussler’s Wax Works From the 1990s”