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.
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.
Emily (as she is called) moved from making batik to painting with acrylic polymer on canvas at the age of 78 and in the next eight years produced around three thousand paintings. Their impact, both as an emotionally communicative experience and in terms of a painting intelligence, is staggering.