February 27, 2012

February round up: Handmade, utopic, urgent and obsessive



I just landed in DC, so I probably won't get to Airplane before "Facture" closes on Sunday, but the installation shots on their website look intriguing. "Combining a handmade aesthetic with a range of materials, the works in 'Facture' manipulate spatial perception and challenge the distinctions between sculpture, painting, photography, and video. Through their formal qualities, along with personal, cultural, and technological references, the works evoke questions about the physicality of the art object."  Curated by Eileen Jeng, an independent writer, curator as well as the archivist at Sperone Westwater. Facture: Hector Arce-Espasas, Jeremy Couillard, Amy Feldman, Elana Herzog, Gisela Insuaste, Jessica Labatte, LoVid, Heather Rasmussen, and Jamil Yamani.

Airplane, located at 70 Jefferson Street in Bushwick, was recently named among the five best new galleries in Brooklyn in The L Magazine.

Image at top: Amy Feldman Irascible leftovers, 2011, acrylic on canvas, 20 x 20 inches. Above: Elana Herzog, Untitled Bundle, 2012, wood, hardware, textile, metal staples, 92 x 14 x 13 inches.

Amy Wilson, How We Came To Know We Were Ready (we felt excluded by
high culture),
2011, watercolor, pencil, walnut ink on paper, 7 x 5 inches

Allow plenty of time to see Amy Wilson: We Dream of Starfish and Geodesic Domes, because Wilson's work always features lots of small, handwritten text that is worth taking the time to read. "Amy Wilson reveals an ambitious set of works that center around the themes of utopia and building a new world. Best known for her small watercolors that depict a cast of young girls who communicate the artist’s diaristic thoughts via text bubbles, in In We Dream of… Wilson brings the girls back, but they take on a new dimension as they roam around a landscape inspired by Hieronymous Bosch and contemplate the works of R. Buckminster Fuller, Paolo Solari, Murray Bookchin, and others. The girls wonder aloud: If we could build the perfect society from the ground up, what would it look like? What kind of values and ethics would we reward, and which ones would we shun? What kind of culture would we create, if we got to do it all over – and this time, do it right?" At BravinLee Programs, New York, NY, through March 24, 2012.


Elizabeth Gilfilen, Cusp, 2012, oil on canvas

Elizabeth Gilfilin: No Longer, No Later / Hunterdon Art Museum, Clinton, NJ. Through March 25, 2012.
Go see Gilfilen and Director of Exhibitions Jonathan Greene  talk about the work in her exhibition this Saturday, March 3, 2012 from 2pm-3pm.

"To Elizabeth Gilfilen, the blank canvas is an urgent lure. She doesn't want to begin; she has to begin. Gilfilen starts her paintings by setting up an atmospheric color that defines the mood of the work. Without a defined palette for each piece, she reacts to the fields of color as she works and selectively integrates new hues that expand on the expected potential color combinations. Gilfilen uses color to provoke our private discomforts and public visual pleasures. Her paintings share a sense of urgency, a result of her style of creating art that reflects her openness to chance and accident."


Astrid Bowlby, 12.16.07 (chrysanthemums floating), 2007, ink on paper. Courtesy of Gallery Joe, Philadelphia 

While at the Hunterdon, don't miss "Fragmented," which embraces an anti-casualist approach. The exhibition includes work by Astrid Bowlby, Sebastian Rug, Christopher Skura, Ben Butler. "An embodiment of repetition, detail and interconnectivity. "These four artists share the unique obsession with creating a picture by developing an ongoing correlation between its smaller sections. Upon close inspection of the work in "Fragmented," the viewer can quickly see how it would be impossible to remove just a section of the image without completely dismantling the entire work. This is where the dynamic lies: these images are strong because of their connections, but one disruption in any of these artist's processes would leave the overall work fragmented."

BONUS READING: At Hyperallergic Weekend, don't miss Thomas Micchelli's excellent conversation with Jason Andrew, co-founder and director of Bushwick's Norte Maar: "Many people have asked me if there is a defining characteristic among the artists in Bushwick. My answer is the one Hans Hofmann offered when asked what exactly constitutes the basis of the artist community at a round table discussion among artists at Studio 35: “Everyone should be as different as possible. There is nothing that is common to all of us except our creative urge. It just means one thing to me; to discover myself as well as I can. But every one of us has the urge to be creative in relation to our time — the time to which we belong may work out to be our thing in common.”

Jeremy Couillard,  Visual Piano Cube in Cellular Hallway, 2011 acrylic and electrical components on and in panel 40 x 48 inches

 And last but not least: "Tops," an exhibition of work on tabletops (reminds me of the concept behind CAA's ARTExchange) curated by President Clinton Projects at Open Space in Long Island City, NY. Tomorrow is the LAST DAY! President Clinton Projects is an artist-run curatorial project founded by Sun You. "Tops" features work by Ivin Ballen, Josh Blackwell, Vince Contarino, Paul DeMuro, Dennis Farber, Amy Feldman, Stacy Fisher, Joanne Greenbaum, Michelle Grabner, Eric Hibit, James Hyde, Lucy Kim, Yasue Maetake, Fabienne Lasserre, B. Wurtz.


Related posts:
Elizabeth Gilfilen: Pugilist painter (2011)
Jason Andrew, Brooke Moyse, and me (2009)
Amy Wilson's Antidote to Miami: The Degenerate Craft Fair (2009)
Video: Studying with Hans Hofmann in Provincetown (2011)


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1 comments:

I saw Beth Gilfilin's show in Jersey--it was amazing! You don't see many paintings like that anymore.