Art Review

Across the Great Divide

An Interview with Hijo Nam

Hijo Nam’s art projects an ability to seek and know. With knowledge can come an understanding that harmony is inner peace. This would account for the contemplative nature of the forms and combinations she chooses, the colors and accents she adds, and the surfaces and textures she reveres. Nam’s search often brings her to the lost and forgotten remnant of an outdated utilitarian mechanism. In her hands, a resurrection of a spirit occurs, and as a result, the object is moved beyond its thingness. This process, this journey then becomes transportive and transcendent as the object’s past, present, and future become one.

Such A Maverick Intent

Although David Robilliard is now viewed with the gift of hindsight as being essentially a London artist, a closer examination of his life betrays that he stemmed from a more parochial soil, that of the Channel Islands. He no more represents '80's London by birth, than Andy Warhol embodies '60's Manhattan. It's their work and it's ethos that bequeaths them this status and blends them both so firmly into the fabric of their adoptive cities. Circumstance and happenstance gilded their evolution as gay men. Warhol escaped the confines of Pittsburgh for the heady promises of the Big Apple. Robilliard fled the stifling nature of island life, arriving in London in the early '70s become an artist and poet.

Linda Vallejo's Cultural Transfigurations

Linda Vallejo: Make 'Em All Mexican
The Clemente Soto Velez Cultural and Educational Center

Color has impact. It can repel or attract, program our opinions, set moods, even control traffic. In some ways color effects us based on our individual experiences and environment, yet there remains a systemic interpretation, prejudice or preconception about color that concerned artist Linda Vallejo addresses in her series Make 'Em All Mexican. By employing the color brown to change the ethnicity of mostly American Icons that appear here in the form of dozens of sculptures and figurines, a few paintings and a number of photographs, prints and postcards, Vallejo subconsciously moves racial stereotyping of Latinos to our collective front and center. 

Bête Noire

Susan Bee: Doomed to Win/Paintings from the 1980s
A.I.R Gallery
Through April 27, 2014

Most paintings, the instant you see them, they become familiar and then it's too late.- William Gaddis, The Recognitions

Body of Evidence

Maria Lassnig
MoMA PS1
Through May 25, 2014

"Man is the measure of all things: of things which are, that they are, and of things which are not, that they are not."  Protagoras, quoted in Plato's Theaetetus 

"Both the motor and sensory homunculi usually appear as a small man superimposed over the top of the precentral or postcentral gyrus, for motor and sensory, respectively. The homunculus is oriented with feet medial and shoulders lateral on top of both the precentral and the postcentral gyrus (for both motor and sensory). The man's head is depicted upside down in relation to the rest of the body such that the forehead is closest to the shoulders. The lips, hands, feet and sex organs have more sensory neurons than other parts of the body, so the homunculus has correspondingly large lips, hands, feet, and genitals. The motor homunculus is very similar to the sensory homunculus, but differs in several ways. Specifically, the motor homunculus has a portion for the tongue most lateral while the sensory homunculus has an area for genitalia most medial and an area for visceral organs most lateral. Well known in the field of neurology, this is also commonly called 'the little man inside the brain.' This scientific model is known as the cortical homunculus." Cambridge University Dictionary of Medical Diagnostics (Dr. Philip Kennedy, Editor, 2013 edition)

I Never Promised You Two Rose Gardens

Rose Marcus
KnowMoreGames
14 February - 19 March 2014
Rose Marcus
Eli Ping/ Frances Perkins
6 March - 13 April 2014

Rose Marcus’s recent overlapping exhibitions of color photographs speak to the city’s telling and accumulated uncertainties as well as its pleasures. The first series of medium-sized photographs at KnowMoreGames, with their reflective perspectives, its glints and glimmers and facets, has as its subject the porous city and the shifting relationships between interior and exterior spaces, between public and private. Marcus points to the ambiguous hallucinatory city, the city of glass, reflective of a variety of texts.

Fade to Grey

Jasper Johns: Regrets
Museum of Modern Art
Through September 1, 2014

The image is dead. The icon is dead. The painting is dead. - Patricia Cronin

Keep everything on the surface, even with the knowledge that the surface fades and can't be held together forever -- take advantage before the expiration date appears in the nearing distance. - Bret Easton Ellis, Imperial Bedrooms

The Seventh Seal

Whitney Biennial 2014
Whitney Museum of American Art
Through May 25, 2014

"I think of the media as a cannibalistic river… that absorbs everything." Gretchen Bender

"The image is dead. The icon is dead. The painting is dead." Patricia Cronin

"I am a deeply superficial person." Andy Warhol

Precarious Space: Angela Dufresne

Angela Dufresne was born in Connecticut and grew up in Kansas. She studied painting and video at the Kansas City Art Institute and painting at Tyler School of Art. She did residencies at the Fine Arts Work Center in Provincetown in 2002–2004 and 2003–2004 and at Yaddo this year. She taught painting, and culture at large, in various places: Sarah Lawrence, Princeton University, and Rhode Island School of Design (RISD). Dufresne curated several show and video screenings nationally, including Portraiture for the Silicon Enlightenment: (Fuckheads); Negative Joy, a video screening at 443 PAS, New York; and Available, a show about still life at Monya Rowe Gallery. She has exhibited her work in various group shows in museums: The Aldrich Contemporary Art Museum, the Rose Museum, Mills College Art Museum, Richmond University Museum of Art, and MoMA PS1. She has also had various solo shows nationally and internationally: a project at the Hammer Museum in Los Angeles in 2006 and spontaneous shows at CRG Gallery and Monya Rowe Gallery in New York City in 2009 and 2012.