Galleries

Post image for Late Bloomer: Philip Hanson’s Recent Paintings

Initially I was skeptical, but Philip Hanson’s three paintings on the fourth floor of the Whitney Biennial got me to look and think again. The twelve paintings in his exhibition, I am a child of the Light, student of the Dark, at Corbett vs. Dempsey (March 21–April 19, 2014) convinced me.

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Post image for Down in Jungleland: Laura Sharp Wilson’s Crystalline Delirium

Irresistibly baffling, Laura Sharp Wilson’s paintings ensnare us inside a post-industrial jungle of tangled cables and serpentine vines, blinding yellow days and blacker than black nights. Her crisply articulated forms thrust, loop, spiral, dangle, cluster, zigzag, and coil edge-to-edge with a singular clarity that sidesteps chaos for a state of wide-eyed delirium

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Galleries

Art Before Images

by Susan Silas on April 10, 2014

Post image for Art Before Images

When you come across a mirror it’s nearly impossible not to look in it. But what happens when the reflective surface is an artwork — when looking at yourself precludes looking at it, and vice versa? Carrie Yamaoka’s exhibition at PK Shop, titled after the Jimi Hendrix song “Are You Experienced?,” is reminiscent of the cognitive illusions of the young girl and the old woman or the rabbit and the duck.

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Galleries

When Depression Strikes

by Alicia Eler on April 9, 2014

Post image for When Depression Strikes

LOS ANGELES — It was 4:20pm when I walked into Depression and encountered Andrea Ursuta’s piece “Stoner” (2013). A batting-cage ball-throwing machine creaked on, spun once, and died before it could eject anything from its quarantined-off belly.

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Post image for The Failures of 1970s Suburban Life

In the film Over the Edge (1979), the worst fears of a suburban planned community come true when the teenage residents of the fictional town of New Granada attack a town meeting being held to discuss just exactly what went wrong with the violent, angst-filled youth of their town.

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Post image for The Cold War in Florida’s Wetlands

MIAMI — Consider, for a moment, the hole-in-the-donut: a confectionary absence that signifies a presence, a sort of vortex of meaning, potentially a Rorschach test.

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Post image for Searching for the Iconic Amid Post-Industrial Waste

Compared to the wonders of the ancient world, urban sprawl is devastatingly mundane. But what if a mass-produced monument sprang from its overdeveloped terrain?

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Post image for An Abstract Painter’s Mixed-In Tensions

Any painter who doesn’t find painting difficult should be treated with suspicion. Managing real challenges, as opposed to affected ones, should be the root of an artist’s style, by choice or by consequence. The work of Logan Grider has always struck me as bound up in tensions that are either invited or just endured.

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Post image for Joanne Greenbaum’s Beautiful Monsters

Joanne Greenbaum is hellbent on making each painting different from the ones preceding it. This was immediately evident when I walked into her first exhibition with Rachel Uffner Gallery, where she is inaugurating the gallery’s new large space with eight large paintings, all 90 x 80 inches.

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Post image for Broadcast Muse: Liz Magic Laser’s Bystander

The script for “Bystander,” Liz Magic Laser’s performance at The Kitchen, consists principally of two types of statements about current events — the personal and the reportorial.

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