Like the bastard twin of metaphysics, we want art to tell us the meaning of it all.
Artists, like everyone else in the world, are worried about the consequences of global warming in the natural world; moreover, they realize that the damage is psychic and imaginative as well as terribly real.
Mezhibovskaya’s art is the most devastating commentary on Art Since 1900 and the most original supplement to Duchamp’s ready mades and Danto’s commentary on Brillo Box that I have had the pleasure to discover.
As his new show continues at the same venue, a topical pick from 2008
Nemire’s paintings carry the same obscure emotional charge as video color test bands, glowing stripes of pure color that signal a pause before the start of the video’s narrative. The paintings are all variations on that “before” moment, endowing it with resonance as the primary subject.
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
The overriding mood in the gallery is inexplicably hopeful, perhaps a subliminal effect of the Buckminster Fuller term, “Tensegrity,” given to the exhibition. Fuller’s theory of tensegrity, the harmonious synergy and tension of parts within an integral structure.
Vacillation between equilibrium, a consistently busy surface that can be read as a singular gestalt, and the disequilibrium caused by the dark and sometimes opaque asymmetrical highlights that disrupt these linear networks, creates unpredictable rhythms within the iterations of abstract shapes.
Like the Impressionists, Friedman transfigures the contemporary world. What more could we ask of any artist?
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…