Two young artists from the west, Brandon Maldonado of New Mexico (born 1980) and Sarah Sohn of Los Angeles (born 1984), have landed at the Aidan Savoy Gallery on Stanton Street. I mention their youth because it is so much a part of how one takes them inâ€”the fact that they are still in a formative phase. Maldonadoâ€™s work dominates the space, in part because his color palette is so much brighter and more intense than that of Sohn. His worksâ€”with their hot colors and bold, even surreal imagesâ€”catch the eye and demand attention. Sohnâ€™s work is paler, closer to monochromatic, and more aloof in its imagery.
At twenty-six, Maldonado is painting under a number of influences: Read more »
Well, it happened. It got even bigger, this Super Bowl of the art world. With some dozen and a half fairs, Miami in early December is Art World. And everyone was there, catching up with art esthetics, theories, and achievements that seemed endless and bright. I quickly became simultaneously entrenched and overwhelmed as I took in the first day and a half with friends Betty (art shipper and curator), Robert (gallerist and projects person), and Carl (artist and dealer). I found Carl the most fascinating, since this year was his first time seeing this fair extravaganza; despite Carlâ€™s newness here, he expressed definite opinions and valuable insights as we bounced from booth to room, from fair to exhibition. Read more »
Itâ€™s always cool to find one of those 1980s, East Village throwback-type galleries. You know, the ones that favor a brutal sort of figurative art that kicks the cobwebs out of the old thinking process. If you are like me then head over to Aidan Savoy Gallery before it closes to catch this potent two-pronged exhibition curated by Jordin Isip titled A Piece Apart. The concept is to have dozens of artists submit one of their more familiar works, plus a separate pair of painted, sculpted, drawn or collaged eyes on five-inch square wood panels. Why eyes? The curatorâ€™s uncle runs an eye clinic in the Philippines, where he performs eye surgery on the poor and blind. Part of the monies made from the sale of the artful eyes will go to the clinic. Read more »
I had the pleasure of meeting Richard Kalina at a WAX (Writers and Artists Exchange) Conference in San Antonio a while back. I knew his work from previous shows at Lennon/Weinberg, but was happy to hear his thoughts on contemporary art in Texas as he spoke to a gathered throng. He has a penetrating way about him. He gets inside and outside issues or concepts simultaneously, which makes sense, since that is the way his art appears to be designed. The fields he sometimes creates in his art move in and out, forward and back, like oscillating winds between city skyscrapers - an effect achieved through vibrating color and suggestive line. Read more »
Walking into Joyce Pensato's one-person show is like stepping into someone else's fantasy where the inhabitants are kindly, funny, and sometimes hilarious. Pensato sets her sights on the likes of Donald Duck, Homer Simpson, Zozo (a 1950s politically correct monkey from France), and the ever-present Bunny. These figures are obviously friends of the artist - studio playmates who dance with her as she wields big strokes of drippy enamel.
Since she only uses black and white paint, there is an overwhelming sense of another age when the cartoon was in its infancy, and when the audience was fresh. Read more »
Walking into the Aidan Savoy Gallery, one immediately notices the liquid quality of Eric Finzi's work: it shines, it glows, it flows. This impression is a product of both the medium -- epoxy resin chemically altered and blow-torched -- and the images. The show, entitled "Down the Rabbit Hole," is an homage of sorts to Lewis Carroll, the author of Alice in Wonderland, as well as a photographer, mathematician, Anglican clergyman, and logician.
The 18 works in this show vary in size and style, with the larger paintings containing representational images and even portraits, while the smaller tend to abstraction. What unites them is Finzi's method, described by him as follows: "I basically work using the different polymerization times of the resin, depending upon the temperature of the resin, and waiting a certain amount of time before I put the paint in, before I pour it, which is why it has multiple layers." Read more »
"I grew up in a haze of ecstatic spiritual events," says Liza Lou. "We didn't need Santa Claus. That was kid's stuff. We had exorcisms." And so the adult Lou continues her art of exorcism, taking the form of incredible installations and mixed media sculptures. Her one-woman show in London at White Cube (a very hip gallery on Hoxton Square) is her first U.K. solo exhibition and contains seven very powerful works. A description of these pieces--mostly made of fiberglass and glass beads -- cannot really capture their effect in person because of the amazing detail and luminescence. In this show the subjects are mostly painful (martyrdom, imprisonment, execution, suicide) while the medium (the exquisite glass beadwork covering all surfaces) gives it a stunning glow. Liza Lou was born in 1969 to Pentecostal parents, both of whom had been artists in New York City, he a painter and she a singer, dancer, and actress. Read more »
Why is Roy DeCarava not more well known? He shot his way into photographic history in the late 1940s, had his work shown in the landmark Family of Man exhibition at the MoMA in 1950, and, in 1952, became the first black American photographer to be awarded a Guggenheim fellowship.
In 1955 he collaborated with Langston Hughes on the award-winning bestseller The Sweet Flypaper of Life, has had three significant monographs published since then, and was the subject of a major MoMA retrospective a decade ago. And yet, why is a significant number of the image-loving public unaware of him?
We now have less reason to lament, thanks to â€œIn Time,â€ the new exhibit of 96 black-and-white DeCarava prints at the Jenkins Johnson Gallery. The exhibit spans a half-century, but the majority of the photographs are from the 1950s and 1960s, when DeCarava did his finest work. Read more »
Tom Hunterâ€™s show, â€œLiving in Hell and Other Stories, is brilliant: brilliant colors, brilliant concepts, brilliant craft. Seven huge (48 x 60 inch) Cibachrome prints fill the gallery walls. The subject is crime. What Hunter does is restage violent crimes or criminal environments reported in his local paper, the Hackney Gazetteâ€”often at the moment of discovery, combining theatrical tableaux with stunning composition. This British artist-photographer is known for a vision that captures contemporary social moments using historical painting references.
The large, glowing photos produce excitement in both their titillating subjects and their high-gloss immediacy. Read more »
Chip Kidd has designed many well-known and beautiful books, including his own very fine novel The Cheese Monkeys, which made a pretty good argument for the idea that graphic designers are the great unsung artists of the world. The collection of Kiddâ€™s work that is now on display at the Cooper Union makes for even more compelling evidence. Throughout his career, Kidd has produced consistently strong designs, and when you have a chance to wander through a room full of his books, itâ€™s striking to see how many of his images have seeped into our cultural consciousness, unheralded and unsung.
Kiddâ€™s work demonstrates an apparently encyclopedic memory for images, and a genuine feel for the Read more »
Winter holidays tend to drive people slightly crazy. This is true almost everywhere, but the annual departure from reality and taste is especially obvious here, in New York City, where, for no apparent reason, the streets are being besieged by puppets. Glassy-eyed marionettes jerk through ballroom dances in shop windows; ominous porcelain figures form pagan tableaux at Saks 5th Avenue (which also features female mannequins in wedding dresses, posed next to male mannequins with carrot noses â€“ call it Bride of Frosty). But, in the midst of a relatively barren winter, when the most talked-about exhibit is a collection of flayed and mutilated human corpses (â€œBodiesâ€¦ The Exhibitionâ€ at the South Street Seaport), one can only give thanks for the fact that Muppet Christmas specials are playing non-stop at the Museum of Television and Radio.
Although the Muppets are ostensibly kidsâ€™ stuff, theyâ€™re also a major touchstone for nearly every twenty-something in the city: the fashionista who describes her dour, shaggy indie rock boyfriend by saying Read more »
Jon Kesslerâ€™s new installation at P.S. 1 collects the detritus of a culture saturated by images of war to make a stunning statement on what it means to live in history. The exhibit incorporates video, sculpture, photography, and various forms of gadgetry too weird to imagine and too complex to name; the central focus of the exhibit, however, is the viewer, who is ineluctably drawn to participate in Kesslerâ€™s project. â€œThe Palace at 4 AMâ€ is a site-specific exhibit, dependent upon a specific place and time. It canâ€™t be separated from its moment, because it is its moment. It includes and implicates everyone who sees it. Read more »
The human body was Egon Schieleâ€™s most frequent subject; he obsessed over it, idealized it, and degraded it throughout his brief and brilliant career. He was haunted by controversy, and briefly imprisoned on charges of kidnapping a thirteen-year-old girl; although he was eventually acquitted, he openly used little girls as models for pornographic drawings. Many critics have been tempted to speak of Schiele as an artist martyred for his brilliance; few are willing to address the unpleasant truth, which is that an extremely talented man went to jail for child abuse, and went free because none of the laws of the day precisely corresponded to his crime. This winter, the Neue Galerie presents an overview of his life and career, which aims to give the viewer a sense of Schiele (1890-1918) in all his guises: Schiele the student, Schiele the pornographer, Schiele the martyr, and even Schiele the artist. Read more »
Ted Hughes and Sylvia Plath belonged to the last generation of rock star poets. The story of their disastrous marriage is one of our great popular romances. But that story has been told so often, and in so many ways, that itâ€™s hard to approach the truth. The most popular version â€“ that Hughes was a sexist brute who drove his brilliant wife to suicide â€“ is simplistic, but itâ€™s supported by some of the evidence. Other versions have tried to explain Plath in different terms, but theyâ€™ve also been a tricky mix of fact and slant. The Grolier Clubâ€™s public exhibition, â€œNo Other Appetite,â€ is a collage biography of the legend. It presents the poetsâ€™ lives through found texts: letters, diary entries, manuscripts, and tellingly underlined books. Itâ€™s surprisingly intimate, and itâ€™s as close as you can get to a completely impartial joint biography of Plath and Hughes. Read more »
Back in 1999 when Guiliani was still mayor and not yet a national hero, a show at the Brooklyn Museum of Art entitled â€œSensationâ€ (made up of works from the Saatchi collection in London) blew the roof off Americaâ€™s lingering cultural Puritanism. All kinds of unartsy folks got their knickers twisted over a work of art that used elephant dung in depicting the Virgin Mary. That the artist was of African origin, that elephant dung might have had ritualistic significance in his culture, and that he used it in a whole series of works, made no difference to those who would censor art under the twin banners of decency and reverence.
The culture wars have since taken a back seat to greater evils (the invasion of Iraq, torturing prisoners of war, etc.), but since I found myself in London visiting family recently relocated there, I thought Iâ€™d drop in on the Saatchi Gallery to check it out. Adding to its attraction, my Irreverent Guide to London informed me that this was the place to see â€œthe young Turks of the British art scene,â€ which turned out not to be the case. Read more »