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| "Figure of Death (Momento Mori)" Attributed to Hans Leinberger, 1520s |
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| Paul Klee "Prickle the Clown" 1931 |
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| James Ensor, "Masks Confronting Death" 1888 |
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| David Altmedj "The Egg" 2008 |
Saturday, October 31, 2015
Happy Halloween 2015 - Halloween Art to celebrate
Happy Halloween!
Monday, October 19, 2015
New York Dispatch: Dana Schutz "Fight in an Elevator" at Petzel
Dana Schutz "Fight in an Elevator"
On view through October 24, 3015
Petzel Gallery is located at 456 West 18th Street New York, NY 10011. Gallery hours are Tuesday through Saturday from 10:00 AM – 6:00 PM.
On view through October 24, 3015
Petzel Gallery is located at 456 West 18th Street New York, NY 10011. Gallery hours are Tuesday through Saturday from 10:00 AM – 6:00 PM.
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| Assembling an Octopus 2013 Oil on canvas 120 x 156 inches |
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| Dana Schutz Fight in an Elevator Installation view 2015 |
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| Sleepwalker 2015 Oil on canvas 66 x 47.25 inches |
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| Lion Eating Its Tamer 2015 Oil on canvas 83.5 x 89 inches |
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| Fight in an Elevator 2 2015 Oil on canvas 96 x 90 inches |
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| Swiss Family Traveling 2015 Oil on canvas 84 x 88 inches |
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| Shaking Out the Bed 2015 Oil on canvas 114 x 213.75 inches |
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| Fight in an Elevator 2015 oil on canvas 96 x 90 inches |
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| Slow Motion Shower 2015 Oil on canvas 78 x 72 inches |
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| Horsey Situation 2015 Oil on canvas 66 x 47.25 inches |
Monday, October 12, 2015
New York Dispatch: Samara Golden "A Fall of Corners" at Canada
The history of modern and contemporary art is replete with challenges to the perception of reality. From Dali to Robert Wilson, the upending of what is real and perceived has been a common practice for artists for quite some time. Samara Golden's recent exhibition at Canada, "A Fall of Corners," (on view through October 25th) adds to this dialogue. The title suggest a collapse of the space around the viewer. The visitor to the gallery automatically begins to feel the notion of the infinite in the space around the gallery. The tables and chairs defy gravity as the mirrors give you the feeling of almost weightlessness. Looking down below, there is a sky with clouds as if the room is traveling through the sky. The fall of the structure and stability is what Golden wants to convey to the viewer. The scene itself is a banquet hall or restaurant. A social gathering space is undermined by a kaleidoscopic hall of mirrors. Golden almost reorients our perceptions creating a dream-like state of mind.
Samara Golden
"A Fall of Corners"
On view until October 25th
CANADA
Samara Golden
"A Fall of Corners"
On view until October 25th
333 Broome St,
New York, NY 10002
(212) 925-4631
gallery@canadanewyork.com
Monday, October 5, 2015
New York Dispatch: Alicia McCarthy at Jack Hanley Gallery
The work of Alicia McCarthy, (currently on view at Jack Hanley Gallery until October 11th), likes to challenge the viewer. Passive viewing is not possible, because the image and surface are connected Based in Oakland, McCarthy's paintings want to draw attention to both the material and the image that her paintings portray.
There are the rainbows that occupy the canvas, and multi-colored hues and shapes that indicate a structure. However, nothing is ordered or straight to indicate a system. Instead McCarthy presents to the viewer a sense of chaos or entropy that is for the active viewer. Rainbows appears to have political connotations that reference to the LGBT community. However, in other works, McCarthy places colorful shapes that can switch between a cityscape and a Bauhaus tapestry. In another painting, McCarthy crisscrosses lines of color. The lines curve and sway on the canvas, giving the viewer almost a psychedelic feel as it almost moves on the canvas; there is a kinetic energy that wraps the viewer in the composition.
Stylistically McCarthy employs a street art approach to the paint. The spray paint on the canvas is rough, but there is a sophistication to McCarthy that is almost a controlled chaos. There are personal references such as coffee stain rings, house paints, and abandoned wood. These imperfections are what create the tension between chaos and order. The embrace of both chaos and order simultaneously in Alicia McCarthy's work is what makes her solo show so enjoyable. She keeps the viewer on the edge.
Jack Hanley Gallery
327 Broome StreetNew York, NY 10002Telephone: +1 (646) 918 6824
Wednesday – Sunday, 11am – 6pm and by Appointment
www.jackhanley.com
There are the rainbows that occupy the canvas, and multi-colored hues and shapes that indicate a structure. However, nothing is ordered or straight to indicate a system. Instead McCarthy presents to the viewer a sense of chaos or entropy that is for the active viewer. Rainbows appears to have political connotations that reference to the LGBT community. However, in other works, McCarthy places colorful shapes that can switch between a cityscape and a Bauhaus tapestry. In another painting, McCarthy crisscrosses lines of color. The lines curve and sway on the canvas, giving the viewer almost a psychedelic feel as it almost moves on the canvas; there is a kinetic energy that wraps the viewer in the composition.
Stylistically McCarthy employs a street art approach to the paint. The spray paint on the canvas is rough, but there is a sophistication to McCarthy that is almost a controlled chaos. There are personal references such as coffee stain rings, house paints, and abandoned wood. These imperfections are what create the tension between chaos and order. The embrace of both chaos and order simultaneously in Alicia McCarthy's work is what makes her solo show so enjoyable. She keeps the viewer on the edge.
on view through October 11, 2015
Jack Hanley Gallery
327 Broome StreetNew York, NY 10002Telephone: +1 (646) 918 6824
Wednesday – Sunday, 11am – 6pm and by Appointment
www.jackhanley.com
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