Filtering by Category: Essays

"The World as Still Life by Mark Turgeon" by Carolyn Funk

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One can be a traveler at home as well as abroad. In a wildly colorful language evocative of the Fauves, the painter Mark Turgeon

 

depicts domestic artifacts and easily forgotten souvenirs that are excavations of the ordinary: vases of flowers, an airport security sticker, barcodes, DVDs, textiles, paperback books, street posters, statuettes, Nike swooshes, the Fair Trade emblem. The pictorial elements record the precious alongside the utterly disposable, compiling a visual archaeology of the detritus of everyday.

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"They Wanted to See the Stars Again: Lenore Malen's New Society for Universal Harmony" by Nora Griffin

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A visitor to Lenore Malen's New Society for Universal Harmony could be forgiven for not knowing how to interpret the objects, texts, photographs and video on view.  They are displayed in a manner that is equal parts school science project, surrealist parlor game and historical re-enactment, leading to the assumption of a reality that may or may not be only an artist's fantasy.  The presentation is bookmarked between two thoroughly absorbing and maddeningly elusive figures:  Dr. Franz Anton Mesmer, the 18th- century practitioner of magnet-induced psychic healing and hypnotism; and Dr. F.A. Mesmer, his 21st-century disciple.

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"In Store for a Change: The Artwork of Phyllis Goldberg" by Katherine Jentleson

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There are things that Phyllis Goldberg just won't change. Living in New York, for instance, where she has resided since she was born in Brooklyn in 1927. But when it comes to her art practice, she is constantly evolving. Over the past decade alone, her work has ranged from abstract painting to photo collage to raku-fired pottery. On the eve of her first solo show in New York at the CUE Art Foundation in Chelsea, she laughs and says, "It doesn't make sense at my age to start a career."

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"On Jasmine Justice" by Jenni Wu

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Expressionistic color combinations, frenetic lines and charmingly idiosyncratic shapes characterize the abstract paintings of Jasmine Justice.  The paintings, themselves, are roughly square-shaped and rarely more than four feet in width.  Their surfaces are richly textured-here, flat and opaque, there, raised and gleaming-an effect Justice achieves through her uninhibited mixture of acrylic, oil and vinyl-based paint.  Crowding the walls of the living-room-cum-studio of her apartment in Williamsburg, Brooklyn, the paintings jostle for attention, each one daring the viewer to puzzle out its secret narratives.  Despite the high Modernist tradition of seeing non-figurative paintings as impersonal studies on color and form, Justice believes that it is human nature to seek narrative in abstraction.  Art, in the end, can never transcend its human origins, and paintings can never be just surfaces.

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