by John MendelsohnContinue reading “Gelah Penn: Uneasy Terms at Undercurrent”
by Emese Krunák-Hajagos
EKH: Darren Gallery is reopening after, as you’ve said, a long and painful renovation with a new concept: Sleepover Art Gallery. Where did this idea come from?
AV: The sleepover gallery concept came about from a variety of factors. It’s difficult to sell art, as it’s not a life necessity and not a surprise when galleries close down after a few years. Continue reading “Apollonia Vanova’s Sleepover Gallery in Toronto”
by D. Dominick Lombardi
The success of an exhibition, or any work of art for that matter, is its ability to engage the viewer. Engagement can be a bit more difficult to achieve when you eliminate any sort of representation, as with the current exhibition at the Hofstra Museum of Art, Uncharted: American Abstraction in the Information Age. Continue reading “Points of Engagement”
by Thalia Vrachopoulos, Ph.D.
Choi’s multifaceted installations employ the abstracted human form in movement as sign language thus demonstrating a relationship to collective memory and Jungian archetypes, and in their essentialized forms, to cave painting also. Human Evolution I, 2019 which a triptych of neutral background with navy and puce colored signs and a central tondo with rune-like shapes, reveals the artist’s interest in pre-historic cultures. Continue reading “Janghan Choi at the Korean Cultural Center in Tenafly, New Jersey”
by Siba Kumar Das
The Elga Wimmer favorites on display in her Chelsea gallery from December 7-21, 2019 are an eclectic group. But they also embody a unifying theme. What unites them is this: Conceptualism is still an important force but ideas must go hand in hand with physical product.
Richard Humann exemplifies the adventurousness of a neo-Conceptual artist who has taken to the technology of Augmented Reality to push viewers into a new artistic frontier – as The New York Times’ Ted Loos suggested on November 27, 2019 in a review of an AR show projected above the High Line. That projection threw up 12 imaginary constellations in the sky. Continue reading “A Few of My Favorite Things: An Eclectic Show”
by Antje K. Gamble
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 installation of High + Low at the Murray State University Eagle Gallery created cross-decade perspectives on developing themes in Lombardi’s work. (For full disclosure, I am on the faculty of Murray State University.) Continue reading “High + Low: A Forty-Five Year Retrospective of D. Dominick Lombardi 1975 – 2019”
by Siba Kumar Das
Madhvi Parekh’s art embodies an intuition of significance that is wholly relevant to a world in the grip of a global ecological crisis. She is an artist for our times.Continue reading “A Rich Imagination: Madhvi Parekh, an Artist for Today”
by D. Dominick Lombardi
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”
by Gae Savannah
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”
by Steve Rockwell
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
Ciria exudes the personable confidence of someone who is at ease in his own skin. This is a way of saying that Ciria inhabits his work, and that the life and breath of his canvases are closely woven into the artist’s own persona. Continue reading “José Manuel Ciria’s Beautiful Day with a Small Storm”