Voisine’s paintings ask us to consider what we pay attention to and why.
With each new exhibition, it becomes more apparent that Don Voisine is adding his own earned options to the legacy of geometric abstraction.
Every color in a Voisine painting has its own material identity. Even the narrow bands edging or running through the panel’s border colors convey a distinctive feel to their physicality.
Don Voisine’s pieces demand attention; you need to study them up close and from a distance to fully appreciate the illusions the artist creates by way of a handful of shapes and a limited but resonant set of colors.
The first paintings you see in Construction Site, the new exhibition at McKenzie Fine Art on the Lower East Side, are three slabs of red polyurethane resin with wood inlays by Noah Loesberg.
If painting were merely a style — just an evocative pose channeling the gestalt of a time and place — then Don Voisine’s spare, elegant abstractions might be the equivalent of Leonardo DiCaprio in a tuxedo.
Don Voisine’s oil paintings on wood brim with all kinds of tensions: between flatness and spatiality; stasis and torque; containment and expansion; light and dark; tonal gradations and sharp contrasts; matte and glossy surfaces; transparency and solidity. Once you begin noticing the variety of stresses animating these paintings, more start to emerge — that’s how finely and tightly tuned they are.
We had a great turn out last night for the opening of Presents: Three Months of Mail Art for Hyperallergic HQ. Over a hundred people came through to take a look at the 120+ submissions from around the world.
As president of the legendary American Abstract Artists and an accomplished talent who creates thoroughly abstract paintings, Don Voisine is not someone you’d normally associate with mail art, a medium that is dominated by artists who integrate text or collage into their work.
After watching Bushwick’s visual arts scene grow and usurp the energy of Williamsburg’s two decades of dominance as the epicenter of the city’s artistic edge, curator Larry Walczak decided it was time to put together an exhibition that investigates the neighborhood’s recent art heritage. The show, Williamsburg2000, opened on March 12 and includes 68 artists. Taking place at the small artist-run indy space Art101 on Grand Street, the exhibition focuses mostly on Williamsburg’s “second wave” that began in 1998 and continued until 2002, coincidentally its the same time period that Walczak ran the Eyewash gallery space with the late Annie Herron.
When the Verge art fair launched Verge Brooklyn, many Brooklyn galleries were peeved that the DUMBO-based event would take away from local galleries scenes. Why would they have to pay to be in an art fair in their own borough when Armory week was the only time they could get out of town collectors to their spaces? Even if the Verge Brooklyn fair began with a bumpy start it was able pull of something no one has tried before, an art fair in Brooklyn