by Steve RockwellContinue reading “When Less Replaces Interconnection and Our New York”
by Siba Kumar DasContinue reading “When Night Falls – Making Embodied Cognition Sublime”
by Steve RockwellContinue reading “A Cosmopolitan Reconnaissance”
by Emese Krunák-HajagosContinue reading “The Remains of the Day: Sarah Sze and her Images in Debris”
by John MendelsohnContinue reading “Melanie Vote’s The Washhouse: Nothing Ever Happened Here”
by Christopher Hart ChambersContinue reading “Frank Holliday’s SEE/SAW at Mucciaccia Gallery in NYC”
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”