Review

September 09, 2013, 9:40am

Barry McGee at the ICA Boston

Barry McGee’s recent retrospective highlights a common dilemma in the rising popularity of bringing street art into museums and galleries—namely, how do you capture the ephemeral nature of the work and evoke its urban context in a white cube, and how does the message of the artwork change? The ICA show sought to confront these dilemmas, and the result was a show that revealed itself as an environment more than simply a survey. Replete with floor-to-ceiling wall installations, animatronic sculptures, and a massive totem of 130 television screens, the show drew heavily on McGee’s Bay Area roots and graffiti aesthetic. - Nadiah Fellah, NYC Contibutor (Visiting Boston!)

Barry McGee, Installation view, Institute of Contemporary Art, Boston

Listed under: Review

August 29, 2013, 9:24am

The Real Deal: Roger Shimomura’s American Knockoff

A knockoff usually refers to a copy of a more expensive original, bringing to mind tables of faux designer handbags and leather jackets on street corners. When painter Roger Shimomura creates a knockoff, his is a human version—specifically, a person, or a punch to the face, literally knocking you off. The artist mashes up imagery from American pop icons, Kabuki actors, Korean and Japanese manga characters, Hello Kitty, Lichtenstein-style faces and Chinese propaganda, into in-your-face, self-portrait battles between himself and the stereotypes that portray Asian American people as less valuable citizens, or “American knockoffs,” the title of his new show. These works from 2009-2012 on view at Greg Kucera Gallery in Seattle, WA, continue the battles Shimomura has fought for over four decades, a testament to the persistence of both the artist’s pursuit and the forces he is up against. - Erin Langner, Seattle Contributor

Listed under: Review

August 12, 2013, 9:30am

Eric Tillinghast: Water/Nymph at Richard Levy Gallery

Northern California-based artist Eric TiIlinghast has been working with water for almost two decades. His diverse oeuvre includes ambitious large-scale installations, sculpture, site-specific works, public art commissions and paintings. In his exhibition Water/Nymph, currently on view at Richard Levy Gallery in Albuquerque, Tillinghast offers up 41 re-contextualized vintage postcards. In these works, he identifies the water feature and meticulously paints over the surrounding environments, leaving only the essential shape of the water and the occasional figures. In many cases, his obsessive process requires the application of 50 of more layers of paint to seamlessly blend and cover up the background image, leaving the surface impossibly smooth and almost devoid of the artist’s hand. As Tillinghast explores bodies of water in all forms - swimming pools, lakes, waterfalls, dams, watersheds and tidal flows, what emerges is a meditation of form in both a natural and domestic context. The results of this aesthetic experience offer a sublime contemplation of our perceptions of Earth’s most abundant resource. I recently had the opportunity to ask Tillinghast some questions about his process. -Claude Smith, Albuquerque/Santa Fe Contributor

 

 

Eric Tillinghast |Clytie, 2013, acrylic on postcard, 3.5 x 5.5 inches; Image courtesy of Richard Levy Gallery

Listed under: Review

August 07, 2013, 9:00am

Timeshares at LVL3

Is the myth of paradise all that compelling? The resort paradise, the motel bliss, dreams of tropical shores and youthful ocean air – are these the same dated visions of vacationing we still cling to, or has anything supplanted their modern aspirations? Do we really delight in a shallow image of shared retreat locations, or long to buy our piece of time from out of a brochure or agency – just another one of many touristic occupants? The theme of the temporary vacation and all its shortcomings has garnered quite a lot of attention by contemporary artists over the past few years. An exhibition by this very namesake, Timeshares, currently on view at LVL3, pictures three artists preoccupations with the idealism the term represents – if not the effects that summer tends to have on more “relaxed” thematic group shows, as well. Paintings and objects by Josh Reames (NAP #89, #95), Calvin Ross Carl, and Maria Walker prod at this artificial fabrication of time as it relates to art and practice; while some pieces directly picture seascapes, palm trees, and other brochure-ready visual ephemera, others take the spirit of vacation as a material cue ­­­– works that deal with pattern, perhaps belonging to a swimsuit, a lawn chair, or mosaic brickwork, and detritus wrapped in colored fabrics, the idea of something less refined simply wrapped into a higher context, masking themselves as paintings. – Stephanie Cristello, Chicago Contributor

Calvin Ross Carl and Josh Reames, “Mañana,” 2013. Sand, 136” x 54”

Listed under: Review

August 06, 2013, 8:30am

Value Judgement: Jason Webb at grayDUCK Gallery

One person's trash is another person's treasure. That message resounds in Jason Webb's acrylic paintings, on view as Bulk Collection, his solo debut at Austin's grayDUCK Gallery. Rooting through these photorealistic accumulations of...stuff...we discern degrees of worth, on what is kept and what is left behind. — Brian Fee, Austin contributor

Jason Webb | Discard Pile 22, 2013, acrylic on illustration board, 10 x 8 inches. Image courtesy grayDUCK Gallery, Austin.

Listed under: Review

July 29, 2013, 8:30am

Navigating The Mentholated Roads: Michael Ottersen at SEASON

There is something deceivingly friendly about Michael Ottersen’s paintings. The Seattle artist’s dense canvases pop with solid, inviting hues.  As pointed out by Robert Yoder, artist and owner of SEASON, where Ottersen’s show The (Mentholated) Roads Around Naples is on view, most of the canvas-spanning forms can be contorted into geometric faces. But then, there are the titles, which counter the initial straightforwardness with an esoteric sense of humor that reads as equal parts inside joke and non sequitur wordplays—Stinky Pinky/Wigwamery and Mary Krishna stand out among the more confounding.  This tug of war happens within each of the works, sucking you in at the first encounter and remaining stuck in your head long after. – Erin Langner, Seattle Contributor

Michael Ottersen, Mary Krishna, 2012, oil and acrylic on canvas, 64 x 48 in. Image courtesy of SEASON.

Listed under: Review

July 26, 2013, 8:30am

#GUYYANAI

Guy Yanai’s solo exhibition, Lived & Laughed & Loved & Left at La Montagne gallery is a show of paintings corresponding to recent photographic technologies in mobile devices.  Looking through his iPhone, Yanai is always taking notes of things he sees in the world around him by making pictures. With this information he begins to build his paintings. - Anthony Palocci Jr., Boston Contributor

Drive In, 2013 oil on linen 40 x 40cm photo courtesy of La Montagne Gallery

Listed under: Review

July 22, 2013, 9:00am

Abstract Planking: Jason Middlebrook at Lora Reynolds Gallery

Painting on wood panels is old-school, the most popular way of supporting media until canvas took over in the 16th century. Jason Middlebrook isn't trying to reinvent the wheel by painting directly onto internally cut trunks from the local mill. But in relocating from Williamsburg to Columbia County in upstate New York seven years ago, the artist began infusing his nature-minded oeuvre with the natural landscape. The Line That Divides Us, Middlebrook's debut solo exhibition at Lora Reynolds Gallery in Austin, is a distillation of his most recent work: subtle compositions on their own sublime hardwood slabs. — Brian Fee, Austin contributor

Listed under: Austin, Review

July 16, 2013, 8:30am

Self Conscious: Pat Snow & Matthew John Winters at grayDUCK Gallery

It seems almost fated that Texas transplants Pat Snow and Matthew John Winters would exhibit together. The mellifluous title to their grayDUCK Gallery duet Wintersnow Snowinters echoes the innate, mantra-like concentration evident in their respective works, combining images and memories to sublime conclusions. — Brian Fee, Austin contributor

Listed under: Review

July 05, 2013, 8:30am

Ellsworth Kelly at Matthew Marks Gallery

Ellsworth Kelly has recalled of his early development as an artist: “I didn’t want to paint people. I wanted to paint something I had never seen before. I didn’t want to make what I was looking at. I wanted the fragments.” In Ellsworth Kelly at Ninety—a title that refers to the birthday the artist celebrated a few weeks after the show’s opening—fourteen paintings and two sculptures in Kelly’s signature fragmentary style are on view. Impressively, all of the large works were made in the past two years, evidence that the artist’s age has not affected the prolific production of his work.

Listed under: New York, Review

Pages

Recent posts

Tuesday, March 10, 2020 - 14:55
Tuesday, December 17, 2019 - 18:09
Wednesday, September 18, 2019 - 17:11
Friday, December 7, 2018 - 12:35