Van Gogh wrote, "Ah, portraiture, portraiture with the thought, the soul of the model in it, that is what I think must come.... It is one's duty to paint the rich and magnificent aspects of nature.... Do I make myself understood? I am just trying to make you see this simple great truth: one can paint all of humanity by the simple means of portraiture." Rober Yoder, in his current show at Platform Gallery, seems to exemplify van Gogh's credo. Unlike van Gogh, however, Yoder uses the portrait not to paint all of humanity but, rather, to get inside the subject, using painting to examine each individual, well, individually.
The way I entered Eugene Lemay's exhibit was not the way I left it. At first glance I was baffled by what initially seemed like enormous black rectangles lining the gallery space. The size of the work left me feeling alienated and lost, aimlessly meandering through the gallery, not quite sure where it starts and ends, my eyes shifting from one enormous black abyss to the other.
Endurance is a character trait often overlooked in an artist. Ron Gorchov, who is exhibiting new paintings at Cheim & Read, is definitely a marathoner in the art world, and one to whom more attention should be given. Born in 1930, Gorchov has lived and worked in New York since the early '50s, where he had his first solo show in 1960, was included in the Whitney's Thirty American Painters Under Thirty-Six, and was friends with Willem de Kooning and Mark Rothko. His most recent museum exhibition, in 2006 at PS1, garnered the attention and support of Vito Schnabel and The Brooklyn Rail publisher Phong Bui, who curated this current exhibit.
From the Muses of Helicon, let us begin our singing, that haunt Helicon's great and lofty mountain, and dance on soft feet around the altar of the mighty son of Kronos. This from Hesiod's Theogony. "Night bore hateful Doom and dark Fate and Death, She bore Sleep, and she bore the Tribe of Dreams...."
"We live as we dream," wrote Joseph Conrad, "alone." Mira Schor's recent exhibition at Marvelli, Voice and Speech, makes a compelling argument against Conrad's existentialist notions with paintings that are interrogations of thinking, speaking, writing and, of course, the act of painting.
On the occasion of Joseph Nechvatal's upcoming exhibition at Galerie Richard in New York (April 12 through May 26), the recent publication of his new book Immersion into Noise, and a concert of his remastered viral symphOny in surround sound. Taney Roniger is an artist and writer who lives and works in Brooklyn.
Bradley Rubenstein: We really want to get into the new book, as well as the upcoming show, but can you take a minute and give us a little backstory? You have always slipped in and out of categories: actions, painting, sound art, writing....
We are walking through a deserted town almost 500 miles from The City. We had been riding for days. Chancellor Nirenberg ordered all the major ports closed, walled off The Capital, and retreated to an undisclosed bunker, leaving us to deal with the Zombies. What he didn’t tell the survivors was that it was the Vampires we really had to worry about. “This set is amazing. It even smells like a street,” says Justine, who is 17 and who I picked up along the highway. She was camping, after having run away with her sister, Juliet, who used to work for some asshole Hollywood screenwriter (who once brought a roadkill squirrel to a party at Mario Batali’s house, who drunkenly cooked it and served it to Gwyneth Paltrow, who ate it, thinking it was tofu) before the Terror. What was left of Juliet had been roasting on a campfire and I was starving.
Let's begin with this, from Les fleurs du mal: "Everything, even the color black/Seemed refurbished, bright, iridescent/The liquid encased in its glory/In the crystallized ray..."
Although better known as a filmmaker, David Lynch, who is exhibiting his paintings, collages and photographs at Tilton Gallery, has for years walked the fine line between art and entertainment. Like Julian Schnabel, though, Lynch's paintings occupy a separate terrain, and offer a rare opportunity to see into the psyche of a very private artist who also happens to be a very public figure.
Vicki Sher has been using a reduced visual vocabulary in her drawings for many years, combining simple line and color drawings with text to create oblique narratives. In her recent exhibition, Yes/No, she elaborates on this strategy, weaving a story, both personal and symbolic, of her Grandmother Pearl's post-stroke search for a descriptive language, based on her diminished capacity for speech. Sher integrates Pearl's story with one of the great modernist tropes in both painting and literature: the ability to describe and illustrate complex thinking through limited means.
In the heart of Jersey City’s colorful and eclectic Little India neighborhood is a secret that is about to explode the art world. Mana Contemporary is more than a gallery, more than a studio, more than a sensation. It’s a burning impression on the mind, body, and heart -- an interior garden of sorts that stimulates the senses by creating sparks in a quiet, light, white space. Housed in a sprawling, abandoned, brick tobacco factory, the industrial exterior trimmed with concrete loading docks and the crunchy sound of aluminum garage doors rolling up and down serve as a gateway between the quotidian and the imagination.
From the deep warm belly of the earth, the boundless starry sky, or the walloping waves of the sea, Mana’s diverse collections seem to ask, “Where do we come from and when will we meet?” Let’s start on the sixth floor. A ramp with a fenestrated wall on one side and a series of large photographic panels of black sky and rising red sun that radiate heat leads to the Eileen S. Kaminsky Family Foundation (ESKFF) Gallery. An avid art collector of American and international art, Kaminsky traveled the world selecting pieces that touched an emotion in her. Before entering, she shares a few words about what is inside:
Mira Schor is a painter and writer living in New York City and Provincetown, Massachusetts. She is the author of A Decade of Negative Thinking: Essays on Art, Politics, and Daily Life (Duke University Press) and the blog A Year of Positive Thinking. She is an associate teaching professor in MFA Fine Arts at Parsons The New School for Design. She is represented by CB1 Gallery in Los Angeles and Marvelli Gallery in New York. The exhibition Mira Schor: Voice and Speech opens March 29 at Marvelli Gallery at 526 West 26th Street, 2nd floor, New York, New York, and runs through April 28.