There is a limited range of drawing styles, which tends to be competent enough but generally stilted, illustrative, and a bit nerdish. One wonders whether the difference in treatment that does come across is purely a matter of the individual draftsman’s hand or whether different speeds of movement in the scenes depicted — orderly placid drudging through dreary East European streets versus violent clashes with riot-geared police in some steamy tropical town — account for these differences.
Al-Hadid has been hooked on towers for several years now, involved in what can be taken as a reverse Watts Towers syndrome — instead of transforming found, non-art materials to create an aspirational edifice, she deploys considerable artistry to depict with a literalist intensity state of the art, fabricated structures in a frozen instant of failure.
His new exhibition, Three Point Turn, is on view through April 27
John Ashbery: Collages at Tibor de Nagy Gallery, Mario Naves: Postcards from Florida at Elizabeth Harris Gallery and Trevor Winkfield at Tibor de Nagy Gallery
Is there something intrinsic to the appeal of collage to writers — to moving bits of paper around in startling, revelatory juxtapositions? The coincidence of two shows of collages by writers of markedly different ilk – a sometime poet laureate and a member of the third estate – begs the question.
As his new show continues at the same venue, a topical pick from 2008
Because it is a zany exploration of progress and decay, this is a work that, by its very nature, will unfold and only fully realize itself with the passage of time
Dawn Mellor: A Curse on Your Walls Team Gallery until August 8 83 Grand St., between Greene and Wooster streets, 212-279-9219 The Surrealist writer André Breton once declared that beauty would have to become convulsive, otherwise it would cease to be. As if in late vindication of this injunction, the paintings of Dawn Mellor set…
There is a weird sense of a form searing its way through the canvas, from left to right, an accumulation of atomic energy boiling up the space it penetrates, making it a Monet for the nuclear age. It almost becomes tempting to read the image in cartoon-like graphic terms, or like a Futurist depiction of movement.
The motifs of her seven paintings and four drawings are diverse to the point of perversity, suggesting the kind of mind drawn less to things than problems. What is consistent across these images is the sense of a fanatical empiricist picking quarrels with the perceived world.