ArtSlant - Recently added en-us 40 Jean Lowe - McKenzie Fine Art - September 7th - October 12th <p>McKenzie Fine Art is pleased to commence the new season with an exhibition of paintings, sculpture, works on paper, and digital prints by Jean Lowe. This is the San Diego-based artist&rsquo;s sixth solo show at the gallery; it will open on Sunday, September 7<sup>th</sup> with a reception for the artist from 6 to 8 p.m., and run through Sunday, October 12th, 2014.</p> <p>For years, Lowe has created humorous and subversive installations that question intellectual and cultural institutions and societal assumptions.&nbsp; Using papier-m&acirc;ch&eacute; and enamel paint, she fabricates all the elements needed for her fully-realized interiors. In this exhibition, Lowe slyly critiques the way society assigns value, and to what, through the creation of a fauxauction house showroom.&nbsp; Lowe&rsquo;s showroom installation is decorated with paintings and digital prints depicting glossy auction house catalogue covers and posters.&nbsp; From fictional auction houses and websites such as &ldquo;Roquefort&rsquo;s,&rdquo; &ldquo;Heritage Holdovers,&rdquo; and &ldquo;,&ldquo; Lowe&rsquo;s paintings illustrate items from sales which feature everything from fine watches, love letters, and important old master paintings, to manuscripts and ephemera. Some of the lots featured in these sales are on display on pedestals in the showroom, which has been decorated with a large-scale, painted Persian carpet (Teheran, mid-20<sup>th</sup> century) and a papier-m&acirc;ch&eacute; rubber plant in the corner. These include painted sculptures of an obsolete yellow pages phonebook and a volume entitled, &ldquo;If God Loves Me, Why Do I Need a Vibrator?&rdquo;&nbsp; Additionally, several of the items of faux ephemera are on view:&nbsp; a 19<sup>th</sup>-century broadside offering a reward for lost minutes and hours; a poster for a lost dog, again featuring a reward, along with an emotional appeal regarding the canine&rsquo;s medical condition; a newspaper clipping about a man eaten by a bear in an Alaskan campground; a psychiatrist&rsquo;s ironic notes on a patient, scrawled on a yellow pad; inter-office memos, and a variety of posters.&nbsp; Riffing on both Warhol and Gonzalez-Torres, in the rear of the gallery Lowe has created a showroom back office, replete with painted sculptures of folding chairs, a case of wine (Two Buck Chuck), a paddle and tape measure, and a wood pallet stacked with off-set lithograph give-away posters.</p> <p>In this exhibition, Lowe playfully transforms the banal into the magical and makes the rarified ridiculous by transforming commonplace items into desirable commodities, all in a satirical setting of high commerce.&nbsp; Through her painted and sculptured recreations the artist humorously questions what is real, what is true, what has value, and why.</p> <p>&nbsp;</p> Fri, 29 Aug 2014 08:13:39 +0000 Evelyn Twitchell - Heskin Contemporary - September 11th - October 18th <p id="yui_3_17_2_1_1408909111807_54074">Heskin Contemporary is pleased to announce After August, an exhibition of recent paintings by Evelyn Twitchell. &nbsp;This is the artist's first solo show with the gallery. &nbsp;The opening reception will be held Thursday, September 11th from 6 to 9 PM.</p> <p id="yui_3_17_2_1_1408909111807_54075">In this new body of work, Twitchell continues to combine abstraction and representation. &nbsp;The paintings in After August were created in response to autumnal themes, including decay, dormancy and transformation. &nbsp;Her sources are both directly observed (the play of light among trees; the frieze-like momentum of a river; the brittleness of leaves) and invented &mdash;&nbsp; from memories and imagined forms. &nbsp;Exploring nature, as well as her own interior landscape, Twitchell distills these worlds into images &mdash; abstract yet organic &mdash; that evoke specific emotional experiences.</p> <p id="yui_3_17_2_1_1408909111807_54076">Twitchell's work has been included in numerous exhibitions and the contemporary art fairs Pulse Miami and Pulse New York. &nbsp;She has been featured in, City Arts, The Huffington Post, The New York Sun, The New Republic and Whitewall magazine. &nbsp;Twitchell has taught at Marymount College, New York City College of Technology, CUNY and Rider University. &nbsp;In 2011 she was the recipient of a Yaddo residency.</p> <p id="yui_3_17_2_1_1408909111807_54077">Twitchell received her MFA from Parsons School of Design. &nbsp;She lives and works in Brooklyn, NY and Milton, PA.</p> Fri, 29 Aug 2014 06:34:49 +0000 - Kasher|Potamkin - September 6th - November 1st Fri, 29 Aug 2014 06:00:38 +0000 Rob Pruitt - Gavin Brown's Enterprise - September 13th - October 25th Fri, 29 Aug 2014 05:35:58 +0000 - Hunterdon Art Museum - September 27th - January 4th, 2015 <p>Discover the amazing talents of the members of the Hunterdon Art Museum in this annual exhibition.</p> Fri, 29 Aug 2014 05:28:04 +0000 Warren Muller - Hunterdon Art Museum - September 27th - November 9th <p>For more than 30 years&nbsp;<strong>Warren Muller</strong>&nbsp;has literally seen the light in the most mundane and ordinary objects imaginable. Muller uses luminescence as his guide, suspending bottles, perfume containers, old hay baling equipment, hubcaps, bowling pins, toy cars, deer antlers, porcelain figurines, candy dishes, metal lunch boxes, bikes, traffic light lenses, and even a retro mini cooper car to create sublime sculptures of light.&nbsp;Muller&rsquo;s work gives spirit and new vision to things we take for granted, things we left behind, things our children outgrew, things our mother left us, and makes us see them in a new light. Stirring nostalgia and passion, Muller&rsquo;s work isn&rsquo;t just about bringing light to a room, it&rsquo;s about invoking the light within it.&nbsp;</p> Fri, 29 Aug 2014 05:26:48 +0000 Giovanna Cecchetti - Hunterdon Art Museum - September 27th - January 4th, 2015 <p><strong>Giovanna Cecchetti&rsquo;s</strong>&nbsp;work emerges from her deep personal spirituality and study of other cultures and belief systems. &nbsp;Her large works are very detailed and invite viewers to spend time contemplating her work to appreciate its layered forms and technical mastery.&nbsp;</p> <p>Cecchetti was born in Suffern, New York. Cecchetti initially studied art at SUNY Rockland under Edgar and David Levy, whose influence brought her to NYC to study with Larry Rivers at Parsons School of Design in 1973. In 1995, Cecchetti relocated her studio into one of the old silk mills in Paterson, New Jersey. She received an MFA from William Paterson University where she presently teaches as an adjunct professor.</p> Fri, 29 Aug 2014 05:24:19 +0000 Sergei Isupov, Jason Walker, Judy Fox, Roxanne Jackson, Red Weldon Sandlin, Rhonda Chan - Hunterdon Art Museum - September 27th - January 4th, 2015 <p>Discover themany fascinating and fresh ways real and imaginary animals are depicted by artists when <em>A Clay Bestiary</em> opens at the Hunterdon Art Museum.</p> <p>The exhibitionruns from Sept. 27 to Jan. 4, 2015, with an opening reception on Sunday, Sept. 28, from 2 to 4 p.m.About 15 artists will display their work, and Garth Johnson will speak at the opening reception.</p> <p>The exhibition features artists from several countries including Canada, the United States and South Korea. Ithighlights the work of such renowned artists as Sergei Isupov, Jason Walker and Red Weldon Sandlin, as well as others who are emerging to the forefront in technical mastery, and offering fresh, creative approaches to representing the world of creatures through clay.</p> <p>Some of the works included in this exhibition are a response to the human tendency to anthropomorphize animals, while other pieces present witty interpretations of familiar creatures, said Hildreth York, who is curating this exhibition with Ingrid Renard. They have co-curated several past Museum exhibitions offering a unique point of view to contemporary trends.</p> <p>&ldquo;I don't think most people have any idea of how variable and unusual works about the animal world can be,&rdquo; York said. &ldquo;The works chosen are not 'literal&rsquo; representations or depictions of animals, but artists' concepts and interpretations.&nbsp; Some are more representational than others, some are humorous and/or ironic, some are surreal, some are whimsical and some are mini-installations.&rdquo;</p> <p>York notes the irony and humor in such works as Rhonda Chan&rsquo;s <em>Argyle</em>, which depicts a masked and gun-toting argyle rodent. Meanwhile, surreal fantasy takes center stage with Roxanne Jackson&rsquo;s <em>Sexy Beast</em>. This work &ndash; created with ceramic, marbled paper, candles, gold luster and leaf, nail polish and pearl gems &ndash; presents a struggle of two highly patterned creatures, one an octopus with flowered tentacles.</p> <p>The exhibition&rsquo;s title is particularly apt given the breadth of animals represented: &ldquo;Bestiary&rdquo; is defined as an allegorical or moralizing work on the appearance and habits of real or imaginary animals.&nbsp;</p> <p>Included in this exhibition is <em>Strong</em>, which is part of Isupov&rsquo;s <em>Humanimals</em> series. <em>Strong</em> stands about 14 inches high, and wears bloomers and a cape and a very determined look on his face. This work and others, including Walker&rsquo;s complex sculptures and Judy Fox&rsquo;s other-worldly sea creatures, continue to amaze viewers, York said.&nbsp;</p> <p>&ldquo;The artists in <em>A Clay Bestiary</em> stretch the traditions of ceramic animal imagery far beyond the usual conventions,&rdquo; York said. &ldquo;The capacity of clay to be medium, form, surface and finished object allows an infinite number of possibilities.&rdquo;</p> Fri, 29 Aug 2014 05:20:17 +0000 Shamus Clisset - Postmasters - September 6th - October 11th <p><em><strong>Postmasters Gallery is pleased to announce our first exhibition with New York-based artist Shamus Clisset. The show will present a group of large-scale, 3D rendered images</strong></em><em>&mdash;<strong>an alternative reality of totems and tableaux. While generated through digital means, Clisset&rsquo;s characters and still lifes transform the familiar, analog world into glistening hyperreality, where high resolution reflects high intensity.</strong></em></p> <p align="center">***</p> <p>Paraphrasing the science fiction writer Arthur C. Clarke, magic is science we don&rsquo;t yet understand. With this dictum, Clarke suggests that what is imaginable but also inconceivable is most magical of all. Even when a hypothesis becomes reality, it retains its mysticism, its underlying principles beyond the grasp of nearly everyone but its originator. &nbsp;<br /> &nbsp;<br /> Clarke&rsquo;s formulation of the scientific is found in the work of Shamus Clisset. Pairing 3D modeling software with ray tracing, Clisset constructs and documents landscapes, creatures, objects, and scenarios&mdash;an alternative reality&mdash;inhabited by his creations, including his alter-ego of sorts, Fake Shamus. This world is magical, in both its appearance and when considering the tools that enable its existence. We are confronted with a world that is both hyperrealistic and unrecognizable. There are familiar and unfamiliar forms; yet, what is most uncanny is the rendering and positioning of what we think we know best.<br /> &nbsp;<br /> In the wake of misunderstanding, we use words and images we are familiar with to explain the inexplicable. (For example, how can physical referents continue to describe and depict digital entities?) Clisset&rsquo;s mystifying scenarios probe viewers to reconsider reality rather than accept it point-blank. Glistening surfaces of Lamborghini&rsquo;s and football helmets; floating knives, baseball bats, golf clubs, and metallic spheres; disintegrating forms frozen in motion &mdash; all of these suggest a world mediated by technology, controlled by commands and software, set into play by a power greater than itself. Surely, this is part of the fun for Clisset, and comes across in his tongue-in-cheek humor: irreverence in light of absurdity. Creating this alternative-reality is not about yielding power, because this reality exists autonomously. It is Clisset&rsquo;s inclination to use tools that are beyond ordinary comprehension to elucidate the complexity of our lived and imagined environments.&nbsp;<br /> <br /> Clisset&rsquo;s work, while seemingly similar to photography and digital art, is antithetical to these practices, both technologically and conceptually. Capturing 3D modeled objects through ray tracing entails simulating rays of light&nbsp;traveling through every pixel of the image, averaging the angles of the light source:&nbsp;a virtual equivalent of photography, recording space and objects according to refracted light.&nbsp;However, this is a virtual world, documented via virtual technologies. Printing these images using the most widely practiced contemporary photographic process, digital C-Type printing, Clisset underscores the perplexing contradictions that arise through his work.&nbsp;<br /> <br /> Clisset is not a photographer, but this does not mean he is a digital artist either. Many digital artists employ aesthetics that are tied to a specific software or the (in)capabilities of a given program. Such instances are largely reliant on responses to commands and glitches, producing work that points to systematic flaws. Although glitch aesthetics are emblematic of contemporaneity and also reveal the underpinnings of a given (software) system, these efforts invariably communicate the same concept. Distinct from this methodology, Clisset uses software and technologies for their capabilities as tools, rather than merely pointing to their flaws, demonstrating that the output is only as strong as the input.<br /> <br /> And then there is speed. With both photography and digitally-based practices, speed is implicit, if not imperative, in many processes. Speed is almost always associated with technology: new tools enable us to make faster, move faster, live faster. Again, Clisset&rsquo;s work stands apart from technologically-based modes of making, as there is so much information in one single image that it often takes weeks to render. Thus, Clisset could be considered an image-maker, alluding to a more painterly practice, and also borrowing from the vocabulary of sculpture as he models and arranges objects into carefully constructed compositions. &nbsp;<br /> <br /> Because of technologies&rsquo; utilitarian nature, its magical qualities are quick to fade. The most recent example that comes to mind is the internet. When texts on post-internet art emerged, many contemporary artists and writers delineated some break in internet-based practices following this logic: there was a time when things were exciting and the internet was a novelty; now it is expected and burdensome. Even if this were true, the internet simply being a fact of life doesn&rsquo;t mean we understand it, let alone use it to its full potential. And so, magic is actually all around us &ndash; it is &ldquo;literally in the air,&rdquo; to quote Mark Leckey&rsquo;s recent discussion with Lauren Cornell. Referencing Erik Davis&rsquo; <em>Techgnosis</em>, Leckey notes that &ldquo;the more computed our environment becomes, the further back it returns us to our primitive past, boomerangs us right back to an animistic world view where everything has a spirit&hellip;So all the objects in the world become more responsive.&rdquo; And this &ldquo;network of things&hellip;creates this enchanted landscape.&rdquo;&nbsp;Clisset virtually actualizes this sentiment, conjuring a world in which the incomprehensibility of our lived experience is made visible.<br /> &nbsp;</p> <p align="right">- Kerry Doran, New York, August&nbsp;2014</p> Fri, 29 Aug 2014 05:10:02 +0000 Daria Irincheeva - Postmasters - September 6th - October 11th <p>Each day begins optimistically in the morning: new ideas, big plans, trying things out, building things. Then questions come: doubts, changes, darkness, maybe some despair. The night may bring a nightmare or two. But then another morning inevitably arrives. The never-ending rhythmic cycle of trying and survival goes on.&nbsp;<br /> &nbsp;<br /> <em><strong>Ever tried. Ever failed. No matter. Try Again. Fail again. Fail better.</strong></em><br /> Samuel Beckett (Worstward Ho, 1983)<br /> &nbsp;<br /> Daria Irincheeva was born in 1987 in Leningrad (St. Petersburg) growing up in a post-Soviet Russia, a state of socio-economic dysfunction, instability, and disillusionment. She takes reflections on these times as a point of departure, as a method of thinking through failure. For Irincheeva, the topics of crash, collapse and the fragility of large complex systems are beautiful, loaded concepts, evidence of the cyclical nature of human history and personal experience.&nbsp;<br /> &nbsp;<br /> Irincheeva&rsquo;s first solo exhibition at Postmasters of rough, &nbsp;precarious constructions weaves painting, sculpture and installation together. They imply impermanence, flux, entropy, change, adaptation. Just like daytime building and nighttime collapse, failure leads to reconstruction, transformation, and ultimately hope. Formally precise balancing acts, casually put-together with few gestures, Irincheeva&rsquo;s structures project strength in fragility. Seemingly at the edge of yet another transformation, they appear to withstand destruction like a tree leaning to the wind or a skyscraper that sways in the hurricane yet is left standing.&nbsp;<br /> &nbsp;<br /> A true builder, Irincheeva works with common construction materials: bricks, wood, paint chips, linoleum samples, cement and construction paper. Sometimes an air plant will make an appearance. Through her transformative process, her compositions elevate tough, unremarkable elements into poignant, poetic arrangements. Absurdity and unexpected humor enters and the thin Beckettian line between tragedy and comedy is crossed. &nbsp;<br /> Failing better is the new black.</p> Fri, 29 Aug 2014 05:05:40 +0000 Adam Handler - Fred Torres Gallery - September 4th - October 18th <p>Reminiscent of Basquiat's use of strong organic scribbles, vibrant colors, and iconography, Handler carves his own path with his contemporary faux-na&iuml;f style, distilling people and animals to their core.&nbsp;<br /><br />From his joyous, eye-popping large canvases to smaller monochromatic works, Handler reaches an emotional universality through his exploration of images associated with childhood.</p> <p>Adam D. Handler, (1986) was born in Queens NY and grew up on Long Island. As a young child and adolescent, he spent countless hours at his grandparents framing factory in New York City. There, his passion for the art grew and it became inevitable that he too would discover the many possibilities of art. As a college student, Handler studied Life Drawing in Italy and went on to graduate from Purchase College with a major in Art History. He has also studied craft design with Jorge Nieves and printing color photography with Debra Mesa-Pelly. Handler set up his studio in Long Island City, NY; Handler was attracted to its industrial ambience. Handler has exhibited his work in New York City, Greenwich CT, Canada, and Texas. Adam has no plans of slowing down and continues to create new series of works, which include sculpture, painting and drawing</p> Fri, 29 Aug 2014 04:54:52 +0000 Markus Linnenbrink - Ameringer | McEnery | Yohe - September 4th - October 4th Fri, 29 Aug 2014 04:46:09 +0000 Mark di Suvero - Paula Cooper Gallery - 534 W. 21st Street - September 6th - October 22nd <p>The Paula Cooper Gallery is pleased to present Mark di Suvero&rsquo;s new powerful sculpture,&nbsp;<em>Luney Breakout</em>. Several of the artist&rsquo;s large, joyously colorful paintings will be shown with the sculptures. The exhibit will be on view at 534 West 21st Street from September 6 through October 22, 2014.</p> <p><em>Luney Breakout</em>is an expansive 22-foot sculpture composed entirely of weathered, rusting steel. Hard-edged I-beams support curls of torqued metal that unfurl into horizontal space. The artist seamlessly reconciles industrial metal and acute angles with gravity-defying lightness and delicate curves, creating a work at once majestic and playful, indestructible and weatherworn.<em>Luney Breakout</em>&nbsp;marks the artist&rsquo;s enduring preeminence in abstract sculpture over his fifty-year career.</p> <p>Mark di Suvero&rsquo;s first retrospective was in 1975 at the Whitney Museum of American Art. In addition to many museum shows, di Suvero has had acclaimed international exhibitions in Nice (1991), Venice (1995, on the occasion of the 46th Venice Biennale) and Paris (1997). In 2011, eleven monumental works were installed on Governor&rsquo;s Island in New York Harbor, the largest outdoor exhibition of work in New York since the 1970s. That same year di Suvero received the National Medal of Arts, the nation&rsquo;s highest honor given to artists. From May 2013-2014, SFMOMA presented eight monumental sculptures in the city&rsquo;s historic Crissy Field for a yearlong outdoor exhibition.</p> <p>A number of di Suvero sculptures are permanently installed at the Storm King Art Center, Mountainville, New York, a sculpture park that has also organized important exhibitions of the artist&rsquo;s work in 1985, 1995-96, 2005-6 and 2008. Di Suvero lives and works in New York.</p> Fri, 29 Aug 2014 04:37:03 +0000 John Lurie - The Gallery at (Le) Poisson Rouge - September 9th - November 30th <p>John Lurie emerged onto the art scene in the spring of 2004, when he had his first painting exhibition at Anton Kern Gallery. Since then Lurie&rsquo;s work has been exhibited in esteemed galleries throughout the world. His solo museum exhibits include P.S.1. Contemporary Arts Center in New York, Musee Des Beaux-Arts De Montreal, the Musee d&rsquo;Art Moderne Grand-Duc Jean in Luxembourg and the Watari Museum of Contemporary Art in Tokyo, who gave their entire museum to the presentation of Lurie&rsquo;s work. Both the Wadsworth Atheneum Museum of Art and The Museum of Modern Art in New York have acquired his work for their permanent collections. Lurie has published two books of his work, Learn To Draw, a compilation of black and white drawings and most recently A Fine Example of Art, a full color book of over 80 reproductions.</p> <p>Prior to focusing on painting, Lurie led the band The Lounge Lizards, which went on to make music for 20 years. During this time, Lurie recorded 22 albums and composed scores for over 20 movies, including Stranger than Paradise, Down by Law, Mystery Train, Clay Pigeons, Animal Factory, and Get Shorty, which earned him a Grammy nomination. Lurie also starred in three films directed by Jim Jarmusch, as well as a host of other films. He wrote, directed and starred in the cult classic &ldquo;Fishing with John,&rdquo; a series that is now part of The Criterion Collection. Lurie is also responsible for the incredible music of Marvin Pontiac.</p> Fri, 29 Aug 2014 04:29:58 +0000 Roger Hiorns - Luhring Augustine - Chelsea - September 6th - October 18th <p>Luhring Augustine is pleased to announce the first New York solo exhibition by the London-based artist Roger Hiorns. Hiorns&rsquo; work generates and inhabits interstices between dissentient ideas: construction and destruction; the theological and the technological; temporality and permanence; authoritarian control and organic spontaneity. His objects are suffused with an unease that ties them, and our experience of them, to the amorphous, unrelenting global anxiety which permeates/underscores our everyday understanding and reality.<br /><br />The upcoming exhibition will be comprised of recent object work in a variety of media.&nbsp;<br /><br />Roger Hiorns (born 1975, Birmingham, England) lives and works in London. He has been featured in a number of exhibitions at institutions throughout Europe and the Americas, including the Biennale of Venice; MoMA PS1, Long Island City, NY; Tate Modern, London; the Armand Hammer Museum of Art at UCLA, Los Angeles, CA; Walker Art Center, Minneapolis, MN; and De Hallen, Haarlem, The Netherlands. Hiorns&rsquo; work is included in such institutional collections as the Museum of Modern Art, New York; the Art Institute of Chicago; and Tate Modern, London. In 2009, Hiorns was nominated for the Turner Prize for his critically acclaimed work,&nbsp;<em>Seizure</em>, a massive crystallization within the interior of a bedsit in a condemned South London council estate. In 2011,&nbsp;<em>Seizure</em>&nbsp;was acquired by the Arts Council Collection and is currently on a ten-year loan for exhibition at the Yorkshire Sculpture Park in Yorkshire, England.&nbsp;</p> Fri, 29 Aug 2014 04:23:23 +0000 Kyla Chevrier, Anne Truitt, Maria Walker - Sgorbati Projects - September 4th - October 11th <p>Sgorbati Projects is pleased to present <strong><em>Impossible Atmosphere</em></strong>, an exhibition of artworks by Kyla Chevrier, Anne Truitt, and Maria Walker. The exhibition was conceived in conversation with artist Gabriela Salazar. The work of influential sculptor Anne Truitt is employed as a starting point to explore the connectivity of painting and sculpture, and the relationship of atmosphere to form, color and surface.&nbsp;</p> <p>Salazar writes of the exhibition:</p> <p><strong>The mystery of paint, form, and vision coalescing in the corner of the inner eye to conjure space, light, and mood. How to force the inescapability of material into air, light, and shadow, while simultaneously reiterating----&nbsp;insisting----&nbsp;on materiality? Where do substance, structure, and sublimity abut? What captures, embodies, fractures the impossible precision of atmosphere?</strong></p> <p>Exhibited is Anne Truitt's <em>Parva LVIII</em>, 2002, a small, intimate sculpture measuring 12 1/8 by 12 by 3 inches, created two years before the artist's death in 2004.&nbsp; Through Truitt's meticulous process of applying multiple layers of&nbsp;finely sanded gesso and pigment to a wood structure, color, while still resting on the surface, is relieved from its support.&nbsp; Primarily a pale blue/green, <em>Parva LVIII</em> reveals the reductive nature of Truitt's work, heightened not only by a shift in scale----&nbsp;her practice most associated with larger, floor standing sculpture-----&nbsp;but also through the subtlety of a thin green line towards the base of the work.&nbsp; The color of this line, nearly indistinguishable from the color above, almost tricks the eye to question its existence.</p> <p>Kyla Chevrier will create a site-specific installation through the construction of vertical planes which interrupt the architecture of the gallery. The given conditions of the room as exhibition space are changed, and the experience of the viewer is altered. Dramatic interventions which structure programatic movement are balanced with the nuance of natural light as it is redirected against the colored surfaces of the installation. The colors are derived from Chevrier's personal archive documenting the synesthetic relationship of color to specific people and places.</p> <p>Maria Walker presents work from her <em>Window Series</em>, an ongoing group of paintings based on the dimensions of her studio windows.&nbsp; Walker's paintings are continually bound by their fundamental materials----wood, canvas and paint.&nbsp; Here, the physical framework of the windows is recalled in the painting's stretchers, reconfigured to shape unprimed canvas which is then stained with pigment.&nbsp; The physical nature of the work is in contrast to the etherial qualities of their presence. The paintings, almost inexplicably, recreate the movement of light and air through the windows at a given time of day.</p> Fri, 29 Aug 2014 04:11:28 +0000