Cavalier Gallery presents Explorations, a series of large-scale acrylic on canvas paintings by Francine Tint. This exhibition provides an opportunity to take notice and ask, what attributes separate the masterful from the mundane, in a city that has placed gestural abstraction on the international art map. It comes as no surprise that the artists’ temperament plays a crucial role. Francine Tint is an artist who transcends skillful manipulation of materials to disclose the reality beneath the surface of everyday things. She imbues the works with her inner being by painting at the height of her emotions, to create a revealing catalogue of impulses and feelings that connect the canvases to enduring works of authentic artists through time.
Hannah Kallenbach is a Brooklyn-based performance artist whose primary interest is in female grossness and exploring ways to reclaim the fetishization of her own body. She recently staged “Re:” at Vital Joint in Brooklyn, and "2 girls 1 hotdog" premiered at The Glove as part of The Exponential Festival. Hannah is associate directing the Shakespeare in the Square's food-fight-inspired production of A Midsummer Night’s Dream touring at the end of March through April.
Helene Pavlopoulou: Dithyrambs of Liberty
Helene Pavlopoulou’s Dithyrambs of Liberty series fits into the post-modern art paradigm in that it is inclusive of other cultures and periods. Globalization with its many cultural influences has impacted not only her work, but that of most artists around the world. This blurring of borders, geographies, cultural tendencies, and categories has been the cause for Pavlopoulou’s fluid re-creation of an artistic language that addresses contemporary issues like alienation, the electronic revolution, and political turmoil.
Andrew Heard 21st August 1958 - 9th January 1993
The artist Andrew Heard was a combination of contrasts, contradictions and charm. Although his large immensely detailed canvases referenced quintessentially English topics, it is a testament to their brilliance of construction that the viewer didn't need to know who his subjects were in order to be engaged by them. Usually British actors, comedians and neglected television personalities held centre stage. It helped, enhanced and enriched the viewing experience if you knew them, but as he was more successful in Europe, the references were secondary to the visual impact of the work. Heard had more recognition in Germany where his paintings sold well via the Friedman-Guinness Gallery in Frankfurt, he also exhibited at Turske & Turske in Zurich, where the essentially English comic Arthur Askey held little in the way of a visual translation abroad. His work was initially monochromatic and stark but developed into a cavalcade of color. Andrew Heard's pictures are layered, complex and deeply emotional, littered with references both subtle and profane. The term exquisite could be applied to many of his works. They remain a gift to the eyes.
Spots are a disease -- a "Pop Art" pox; a sign of madness, an hallucination. As Tony Hancock says in his brilliant comic movie The Rebel (1961) where he plays a modern artist: "I get the spots before my eyes, the red mist, and I'm off."
Yayoi Kusama is off again at David Zwirner Gallery on 533 West 19th Street in Chelsea. You will have to queue around the block to see her new installations. But you can just walk into a room on 19th street and see 66 of her new paintings. This is a review of the work in that room.
I cannot believe that even the most devout American fascist has not danced or punched their fist in the air to a song created by African American musicians; at a prom, at a frat party or a wedding. "1999" by Prince, "Rock n Roll" by Chuck Berry, "Nutbush City Limits" by Ike and Tina Turner. Black music is an ever-present treatise on American life.
Fallen empires, lost peoples, ancient cultures and what they once produced -- like fallen leaves and dead trees -- comprise the very ground we walk upon. What has passed before, what Tony Moore refers to as “the relationship of humanity and nature," that magnificent mix of man and mother earth is at the core of his content. There is that sense of monumentality, that massiveness of told and untold history that we might feel, what Moore gathers in through direct experience, cognitive or corporeal, as he builds up and cuts away with and within his earthen clay is his expression. He remains connected, as we all should, to the past as there is an endless life energy that both stirs and cleanses Moore’s thoughts and imaginings. To Moore, all cultures, all systems and societies past and present are part of a continuous need to feel connected and complete. It is also vital that we have hope and that we stand up for unity and understanding so good can triumph over evil intent and oppression.
Saints, Sinners, and the Collective Unconscious is riveting. Mr. Lombardi is an artist with an intimate understanding of history in regard to religion and popular culture. After careful viewing of the 30 works in the exhibition, I was compelled to research the titles of the works because they seemed to hold the key to unlocking Lombardi’s intentions. I focused on the works in the Saints section of the exhibition because I found their cryptic iconography most intriguing. The research of the saints depicted in Lombardi’s work opened up a new route for me to access the works’ meaning.