Pesce freeze’s the moment, Carroll celebrates transience, and together they create a deeply meaningful and thoughtful dialogue.
Sleigh took a proto-feminist approach to spatial representation that was, and sometimes still is, confused with a naïve technique.
The impulse to take Close for granted is perhaps all the greater because the work has an effortless assurance to it. But we must slow down, look past the facility, past the celebrity, to find the real investigation still taking place.
There is a palpable tension evoked in watching the crystalline visage of Nancy Reagan struggle for clarity against the loosey-goosey stained canvas.
January 17-February 22, 2009 92 Plymouth Street, at Washington Street Brooklyn, NY, 718 834 8761 It is hard to imagine an installation looking better in the industrial Smack Mellon main exhibition hall than Kirsten Hassenfeld’s current installation, Dans La Lune. Smack Mellon is a venue of raw physicality, with towering concrete columns framed in industrial steel,…
Can an artwork, and by extension the artist, be considered obsessive? James Siena: Selected Paintings and Drawings, 1990 – 2004, the artist’s 2004 mini-retrospective at Daniel Weinberg’s L.A. gallery would certainly seem to beg the question. Fastidiously installed in the gallery’s two exhibition spaces, the nineteen modestly scaled works – none larger than 29 x 23 inches – contain thousands upon thousands of concentrated brushstrokes.
Julia Jacquette: White Paintings Michael Steinberg Fine Art 526 West 26th St. Suite 9E-F New York, 212.924.5770 Mar 5 – Apr 3, 2004 Sometimes things change so gradually we don’t see it at all until we first look away and then, returning our gaze, do we find that nothing is as it was. This can…
Mia Westerlund Roosen: “Namesake,” new sculptures & drawings Lennon, Weinberg, Inc. 560 Broadway, Ste. 308 New York, NY 10012 phone: 212-941-0012 February 12 to April 3 Kim Jones: “escape from flatland,” 177 North 9th Street Brooklyn, NY 11211 718.599.2144 13 february–15 march, 2004 Height precedes width precedes depth – that’s the standard format for describing…
Can video become the new painting? Not just in the art scene, where video takes an ever larger slice of the exhibition pie, but in the aesthetic sense as well. “Autumn Almanac,” a recent show by Jeremy Blake at Feigen in Chelsea has me wondering.
Emotional intent is often ascribed to a sensitively rendered line, but to what extent can we say other information – intellect, curiosity, politics – are being transmitted in that same line? Put another way, how much of the spectrum can touch occupy in imparting content to a work of art? The question comes to mind thinking about “Global Networks”, the Independent Curators International exhibition of Mark Lombardi’s work at The Drawing Center in Soho, where twenty-five major drawings by the late artist are currently on display.