Janghan Choi at the Korean Cultural Center in Tenafly, New Jersey

by Thalia Vrachopoulos, Ph.D.

Human evolution II

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”

A Few of My Favorite Things: An Eclectic Show

by Siba Kumar Das

Richard Humann, Sirenic Cauldron

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”

High + Low: A Forty-Five Year Retrospective of D. Dominick Lombardi 1975 – 2019

by Antje K. Gamble

High + Low: A Forty-Five Year Retrospective of D. Dominick Lombardi 1975 – 2019, installation view at the Clara M. Eagle Gallery, Murray State University, Murray, KY

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”

Seeing, Believing and Understanding

by D. Dominick Lombardi

Brandon Donahue. Rest in Peace, 2019 (detail). Airbrush acrylic on panel, 96 x 144 in. Courtesy of the artist. © Brandon Donahue. Photo: LeXander Bryant
Omari Booker. The Writing’s on the Walls, 2019. Housewrap, oil, plastic tubing, razor wire, and sand on panel, 96 x 144 in. Courtesy of the artist. © Omari Booker. Photo: LeXander Bryant

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”

José Manuel Ciria’s Beautiful Day with a Small Storm

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”

Jung Ho Lee: Entropy’s Painter

by Siba Kumar Das

Jung Ho Lee, Self Portrait, 2018, acrylic on linen, 76" x 51"
Jung Ho Lee, Self Portrait, 2018, acrylic on linen, 76″ x 51″

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. 

Nurtured by the School of the Art Institute of Chicago and then by Brooklyn’s Pratt Institute, Jung Ho Lee is an artist drawn to multiple genres – sculpture, painting, collage, and photography. Continue reading “Jung Ho Lee: Entropy’s Painter”

Three New Exhibitions at the Hammond Museum & Japanese Stroll Garden

by D. Dominick Lombardi

Sam Bartman, Majestic Waters (2001)
Sam Bartman, Majestic Waters (2001), mixed media on reflective plastic sheet, 17 x 17 inches

With three exhibitions opening at the Hammond Museum, the big surprise is the work of Sam Bartman. Born in Brooklyn, NY in 1922, Bartman has spent the last 60 years of his life creating stirring paintings that combine some of the most the incompatible materials. In experimenting with what he calls his “special sauce”, Bartman has somehow tamed a mix of resins, varnishes, motor oil, glitter and automotive paints with oils and acrylics that results in everything from endlessly crackling surfaces and minute swirling storms of color. There are even the occasional brushstrokes that push the variously drying materials around leaving fossil like impressions of battered brush hairs sorrowfully spent in a furious wake of swished paint. Continue reading “Three New Exhibitions at the Hammond Museum & Japanese Stroll Garden”