The Brooklyn-born artist introduces new forms to his ongoing archive of Caribbean heritage and cuisine.
Klaus Von Nichtssagend Gallery
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A Playful Take on the Still Life
Eliminating portraiture from her paintings and compressing the pictorial plane have allowed Holly Coulis to be more idiosyncratic, playful, convincing, and even funny.
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A Decorative Cosmology Bridging Heaven and Earth
In her new exhibition, Tamara Gonzales continues to mine our material culture to chart the world all around.
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The Seduction of Inscrutable, Shrouded Paintings
I find it easy to get lost in a painting by Alex Dodge even if I’m not entirely certain what the subject matter is.
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Finding Jesus, “YOUR MOM,” and Other Surprises at the 2016 Armory Show
The 2016 edition of the Armory Show art fair opens to the public tomorrow, but already during today’s preview piers 92 and 94 were crawling with collectors, curators, and critics.
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12 Years in, NADA Miami Beach Still Feels the Same: Different
MIAMI BEACH — Though its space has been downsized by roughly 20% this year, NADA Miami Beach 2015 still manages to cut through the swarms of largely uninspired and secondary market Miami Art Week fairs with its distinctive presentation of less polished, more experimental work — which sometimes seems too rough to sell but gets right to the gut of process-based art-making.
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The Interlaced Layers of Tamara Gonzales
The Brooklyn-based painter Tamara Gonzales works with spray paint and lace to create digital, optical, urban, and electric paintings.
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Sculptural Sorcery: Ian Pedigo’s Assemblages of the Natural and Manufactured
Assembling pieces of the natural and manufactured worlds, Ian Pedigo constructs sculptural balances of disparate materials. Some of his newest creations are on view in his solo show Cosmopolitan Sleep Positions at Klaus von Nichtssagend Gallery on the Lower East Side.
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NADA’s New Grown-Up Look
This year’s New York incarnation of the NADA art fair suggested that the gathering of young emerging galleries often characterized as the minor leagues of Frieze and other “major league” art fairs has grown up quite a bit. Yet with maturity comes a tendency towards conservatism, and that was reflected in countless booths filled with small, affordable works and unremarkable displays on white walls.
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Debris After an Artistic Storm
There is something about artistic clutter that I love. The crumpled remains of discarded experiments, the crusts of paint dripped on floors and furniture, the outlines of finished pieces long since removed, frames of overlapped color left like burned shadows after a nuclear bomb. These remnants have a calm, yet chaotic, beauty, similar to debris after a storm, that draws me to visit artist studios and empty art classrooms. When looking at David Gilbert’s art, now on view in his solo show Angels at Klaus von Nichtssagend Gallery on the Lower East Side, I see this ephemeral aesthetic appreciated in his quiet photographs.
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Sculpture Today: A Discussion with Joy Curtis & Rachel Beach
On Wednesday, I wrote about two painting shows (Kristine Moran & Gianna Commito) that I felt shared an aesthetic connection. Today, I wanted to draw your attention to two sculpture shows on Ludlow Street by two artists who I’ve been following for years, Joy Curtis and Rachel Beach. Both artists make sculpture and their shows made me wonder what it must be like to be a sculptor today. I decided to interview them together via email in order to understand their work through their words. The following conversation took place this week.
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Sculpting with Ruins or Imposing Force on Matter
For her second solo exhibition at Klaus von Nichtssagend, Empty is Run About Freely, Bushwick-based sculptor Joy Curtis has created several large sculptures comprised of casts she made of interior moldings and architectural details of 77 Water Street, an unused downtown Manhattan bank building, which the Lower Manhattan Cultural Council employed as studio space during Curtis’ residency in 2009. She has been working with the material collected during this residency almost exclusively for the past year. Speaking to the work on display, Curtis told me, “[As artists] we mine the world for materials, and then we impose a force on that matter. I am interested in showing the evidence of imposing force on matter, and showing the evidence of the passage of time.”
