The dizzying effect of Nelson’s two-sided paintings brings to mind the sensory overload of living in a city.
ecofeminism(s) at Thomas Erben Gallery offers an urgent reminder of our present climate and human rights emergencies. Likewise, the works featured imply that another world is, and has always been, possible.
It is not so much what message is narrated or illustrated, but how the form of the painting is questioned in its realization.
Being a torch carrier wasn’t Korman’s thing.
Dona Nelson’s works are literally made to stand up for themselves, bolted to wooden platforms and staged in coteries of pictorial bodies.
Historical exhibitions tend to consistently draw large audiences — the curious, scholars, or just those who like a cracking good story.
Due to the impenetrable, illusory quality of these paintings, one doesn’t immediately associate them with covert operations, skullduggery, and violence.
If you see lots of work by different artists, you are going to make your own connections.
Dona Nelson’s paintings are by turns joyous, confounding, risky, mysterious, straightforward, difficult, tied up in knots and freewheeling. One thing they are not is uniform. Nelson has long resisted a signature style, committing herself instead to an adventurousness in her means of expression.