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It wasn’t technically on the list for Beat Nite, but the door was open and the color palette drew me in: orange-y reds, pinkish purples and lavender, warm, welcoming blues and turquoise. The artworks in Space Heater, the group show currently on view at Harbor Gallery, match incredibly well — not usually a quality I look for in exhibitions, but not one I’ll write off either. I suppose it helps, too, that Space Heater is smart, small, and well considered.
Curated by artist Andy Cross, the exhibition showcases five women artists — Tamara Gonzales, Rachael Gorchov, Lauren Luloff, Carolyn Salas, and Letha Wilson — with one work each, except for Gorchov, who has a second piece on view just past the back office’s dividing wall. All of the pieces are abstractions, but the kind firmly rooted in the world, with all of its figuration and complications. Luloff’s sewn-together bleached bed sheets and fabric, “Folley Barn with Hydrangea” (2012), show a fragmented scene of house, roof, and plants; Wilson’s “Rock Hole Punch (Bryce Canyon)” (2014) is a C-print on concrete that features a wall from Bryce Canyon in Utah; Salas’s twisting tubes of Hydrocal look distinctly limb-like, and indeed, the piece is called “Body Sculpture” (2012); and Gonzales’s striped, spray-painted “TONDO IV” (2013) is wallpaper made fresh. Only Gorchov’s papier mâché and burlap sculptures, which protrude playfully from the wall, seem to be bright and “pure” abstractions … until you read their titles: “NJ Turnpike skies seen from Paonia, CO” (2012) and “FL-29 S” (2013), presumably indicating the highway, and from there the scenery or skies spotted along it.
Beyond colors and an approach to abstraction, what these artists share is a playful and slightly subversive embrace of materials. Wilson places her reddish C-print on a slab of concrete, leaving a hard, gray circle in the middle and hanging the whole thing on the wall: concrete made light, nature interrupted. Gorchov does the opposite, using papier mâché and burlap to shape unexpected mass and solidity — which she also then hangs on the wall. Salas turns tubes of Hydrocal, aka white gypsum cement, into looping bodily stand-ins, while Gonzales upends the macho associations of stencils and spray paint by using them to create colorful patterns of stars. Luloff is the most accommodating of her materials, less traditional though they are — her scratchy bleached patterns are appropriately spunky, but the pastoral scene and the sheet hanging as if on a laundry line make the work feel a little too cozy, not quite up to par in a show that’s much more sophisticated than its matching colors may suggest.
Space Heater continues at Harbor Gallery (17-17 Troutman St, #258, Ridgewood, Queens) through March 30. The show was spotted while wandering through Bushwick Beat Nite, which took place on February 28, 6–10pm.
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
What is the relation between possessing a person, possessing their image, and dispossessing their progeny
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.
We cannot be indifferent to the long-lasting effects of photography. The photographs at the center of Lanier v. Harvard are relentless in making Renty and Delia Taylor work and perform as slaves. The pain inflicted on them has not ceased. Photography has the capacity to propagate harm, and we have the moral obligation to interrupt…