The unclassifiable drawings of Judith Braun are now on view in two concurrent, very different solo exhibitions.
I’m a sucker for a feel-good story of an artist who finds his or her work in an unexpected place, so I was delighted when New York–based artist Judith Braun emailed her friends and colleagues earlier today to say she had spotted something she designed in the hands of Sochi Olympic bronze medalist Kelly Clark.
SUMMIT, NJ — Extended technique is a term normally applied to musical performance, but Migratory Marks, a show of seven wall works by seven artists, offers a thoughtful accounting of where extended techniques have pushed the boundary of what can be called a drawing, if there is in fact such a boundary at all.
One could say that paying attention to the minutiae of an artwork is often necessary to digesting and understanding it. Where would we be today if viewers overlooked the borders of Piet Mondrian’s paintings? Indeed, it is with a subtle eye that Judith Braun’s most recent exhibition at Joe Sheftel Gallery should be viewed.
Artist Julie Torres hosted two months of collaborative drawing nights at Hyperallergic HQ in February and March of this year. The project generated 100 drawings that are currently on display at Norte Maar in Bushwick, Brooklyn. The resulting show, titled So Happy Together: Forty-five Artists and Their One Hundred Collaborative Drawings, opened last night during the first night of the 2011 Bushwick Open Studios.
Last night marked a watershed moment for the art world: the first time that contemporary art was inducted in the burgeoning canon of reality TV. But the big question is: will it succeed in picking an artist the art world will accept or will the show turn out to be more of a Dadaist farce, too nonsensical to have any relevance?