Recollections of Sandy’s devastation are appropriate and perhaps obligatory (see Karen Marston’s Wave With Traffic Light); some of the most poignant hurricane stories came out of Brooklyn. But in this exhibition, D’Agostino also seems to have applied his cosmic wit to the more abstract, large-bore idea that even art ostensibly devoted to a single theme – here, frightful weather – inevitably opens itself up to far more than that.
Kate TealeIn this regard, Marston’s Wave Over Wall (image at top) has an especially intriguing ambivalence. In the painting, a crashing wave takes on the shape of an evergreen, evoking Chris Martin’s Hemlock, in which, conversely, he uses increasingly jangled brushstrokes so that the tree seems to assume a more kinetic form – like that of a wave. In "Vapors, Squalls, and Mediums," weather emerges not so much as a setpiece theme or a simple metaphor as a wormhole to other tropes that might before have seemed unconnected or remote. Art’s expansiveness may be a given, but this show offers a fresh way to apprehend it.
"Vapors and Squalls, or Mediums: Kate Teale, Karen Marston, Jonathan Quinn, and Wendy Klemperer," Centotto, Bushwick, Brooklyn, NY. Closing date TBA.
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