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”
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”
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”
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.