For decades, Diao has injected deeply personal, even confessional content onto the placid surfaces and into the untroubled spaces of Modernism by way of a formal vocabulary grounded in the conventions of presentation diagrams, plans, text. The new work retains its erstwhile formal elegance and restraint, but rueful humor is replaced by a seething emotional undertow stemming from the artist’s inherited memories of his family’s displacement and fragmentation at the hands of the Chinese government.
Lin has managed, through wit and a visionary interpretation of speech, to create a low-relief sculpture that refers simultaneously to American political and artistic history.
Pinocchio’s nose grew when he lied, and so he is a perfect role model for this artist whose magnificently chaotic installation presents the truthful lies of art
Stuart Shils: Recent Paintings at Tibor de Nagy Gallery and John Dubrow: Small Landscapes at Lori Bookstein Fine Art
The exhibitions of Shils and Dubrow overlapped by only a couple days, just enough to allow fresh comparisons between the two. Their differences intrigue: could it be that Shils seeks evocative means of representing, while Dubrow peruses the workings of representation itself?
Some may remind you of Sam Francis’s Blue Balls, although Winters packs his pictures more densely. And his lavishly worked colors occasionally have some unruly relationship to 1970s pattern painting, the faux-Islamic decorations of Philip Taaffe and, even, the gridded portion of Henri Matisse’s The Moroccans. But whatever his visual sources, Winters makes entirely original, entirely resolved works of art.
Conventional readings of “above” and “below”, of north, south, east and west are confounded in these panels by the integration of patterned motifs – diamond shapes and curlicues – that resist any such perspectival pre-conditions. The improbable worlds that Harris presents are less pictures of places than visual destinations within elaborate structures, guiding the eye ever-centerwards.
Whatever stories Shaw might tell and whatever horrific creatures he might portray, they all are camouflaged by an overstimulation of the viewer’s visual senses. The excessiveness of information is severe and can be compared to 1960s psychedelic art or Persian miniatures.
The interplay of colors and contrasting directions endows the open spaces with their own specific movements. The entire composition is cropped cinematically to add implied drama to what can only be called a scene.
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,…
Stanley William Hayter in America: Paintings, Drawings and Prints, 1940-1950 at Francis M. Naumann Fine Art
Naumann has had the courage and good taste to break the medium barrier between Hayter’s experiments in printmaking, drawing and painting by presenting his work chronologically, regardless of – and mixing up – medium and support.
The resulting hang is very refreshing, and vindicating, to those afficionados sick to the hind teeth of Hayter being dismissed as a “technical wizard” in the etching studio, and therefore not, by extension, a “real” artist outside of it.