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 Steve Rockwell
dArt magazine is pleased to introduce TWINNING, the application of a game structure to its Playing Card feature. When presented with cards bearing images from dArt back issues cropped to playing card size, a participant is asked to pair up any two from cards presented. While the choice on the surface may be no more profound than “liking the combination,” something deeper may have been at the root of the picks. Even if this is not the case, the resultant pairing of images affords the chance to answer questions that the art itself may be posing. This had certainly been true for writer Bruce Bauman, who in his The Empty Deep article about Gehard Richter said of the exhibition that it “forced me to reevaluate why I write about art.”
This TWINNING of images was inspired by a recent visit to the home of collector and former dArt associate, Roy Bernardi, when presented with eight of my playing card works mounted on dArt International paper. Two had stood out as ones that he preferred: Richter’s Two Candles and Saddy, an acrylic on canvas painting by Deiter Mammel, cropped from the dArt advertisement of his 2016 HOT exhibition at Christopher Cutts Gallery in Toronto.
Every copy of the coming edition of dArt International magazine will be unique. The projected signed limited edition will feature dArt‘s “Playing Cards,” hand cut from back issues and tipped into a reproduced image of a dArt International paper mat.
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”