Galleries

Galleries

Making Art Feel at Home

by Alix Taylor on July 23, 2014

Post image for Making Art Feel at Home

The two rooms of Jason McCoy Gallery currently feature works spanning a wide variety of styles and mediums — from functional design objects, such as wallpaper and stools, to charcoal drawings and fine art textiles — for the group show Domesticity.

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Post image for The Unstable Art of Pattern Recognition

Fixed Unknowns, the current exhibition on the upper level of Taymour Grahne Gallery, breeds constant questioning of the image before the eyes.

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Post image for The Values of Louise Lawler

At the core of artist Louise Lawler’s work is the question of place, by which I don’t mean simply a notion of geography, but also hierarchies.

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Portrait of Regina Bogat, 52 Division Street, New York City (c. 1961)

Regina Bogat: Works 1967-1977 at Zürcher Gallery marks another milestone in the rediscovery of an artist who has long been hidden in plain sight. Since her start in the 1950s, in a milieu that included abstract artists like Mark Rothko, Ad Reinhardt and her late husband, Al Jensen, Bogat has always played the subversive.

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Ellen Brooks, “Untitled (Lawn Couple)” at Hauser & Wirth

Photography’s initial accomplishment was to allow for the instantaneous transformation of a four-dimensional object or event into a static, two-dimensional representation. However, in the catalogue for the 1970 exhibition Photography into Sculpture at the Museum of Modern Art, Peter C. Burnell insisted that the medium could be pushed to even greater creative possibilities.

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Post image for Cinema as a Ruin in Madrid

MADRID — The moving image, now at the center stage of contemporary art, not only as video and film but as ‘artists’ cinema,’ was once a fringe movement at a time when recorded tapes were difficult to manipulate and even more difficult to preserve so that many of those early works are now irretrievably lost.

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Post image for Unpacking Willard Boepple’s Monoprints

Willard Boepple’s solo show of monoprints at Lori Bookstein Fine Art opens with one of the artist’s mounted resin works, “Ways and Means” (2002), a purple structure of overlapping translucent geometric forms.

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Post image for An International Stilt-Dancing Collaboration Stands Tall

Laura Anderson Barbata started her international stilt-dancing collaborations in 2001 in Trinidad and Tobago, and since then has forged links between communities in the United States and Mexico. A traveling exhibition focused on the precarious performance practice opened earlier this month at BRIC House in Brooklyn.

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Post image for Ed Paschke’s Portraits of Brooding and Tortured Souls

Ed Paschke (1939-2004), who is considered a Chicago Imagist, is one of the important painters to emerge from America’s heartland in the late 1960s that New York has never fully embraced. One reason for this resistance is his lifelong interest in misfits and the creepy flipside of celebrity, which implicitly critiqued Andy Warhol’s love affair with pop idols and glamour.

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Post image for The Function of Forms: Matthew Palladino’s Object Lessons

Matthew Palladino’s gallerist calls his new works paintings, but one wonders whether that label is given partly for simplicity’s sake: They are paintings but also sculptural reliefs. They are illusionistic but also real.

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