ArtSlant - Recommended en-us 40 Christa Toole - Phoenix Gallery - April 24th, 2013 - May 18th, 2013 <p>New painting and mixed media work.</p> Sun, 10 Feb 2013 18:22:56 +0000 Cordy Ryman - DODGE Gallery - April 6th, 2013 - May 12th, 2013 <p align="center"><i>Diversification of a species or single ancestral type into several forms that are each adaptively specialized to a specific environmental niche. <a href="#_edn1" title="" rel="nofollow">[i]</a></i></p> <p>DODGEgallery is pleased to present <i>Adaptive Radiation</i>, Cordy Ryman’s first solo exhibition with the gallery. Ryman will include a major installation scaling the floor and wall of the inner gallery. Other interjections will punctuate the space among wall-hung constructions. </p> <p>Stacked blocks, radiating hues, leaning 2x4’s, stapled Velcro, assembled paint sticks and stuck debris populate the crevasses and forms of each of Ryman’s works, as well as the rooms they inhabit. Ryman prefers a logical geometry of repeated forms, while being equally committed to found arrangements that interrupt themselves. The freedom of imperfection and play determine much of his process. Whether one attributes a piece to the category of installation, sculpture or painting seems loosely relevant here; the frame of the room, the squared form of a painting, and the modernist independence of an object are more directive than constraining. Ryman’s works resemble compulsive counting—with hiccups. Unexpected and irregular intrusions of pattern persist.</p> <p>The repeated blocks that comprise each composition are Ryman’s signature material: 2x4’s. Most works begin with this recognizable building block, which Ryman further cuts, segments, paints, abuts and stacks, never obscuring the original form of the familiar, unremarkable lumber. Mill cut edges are always present and intermixed with the artist’s own saw cuts. Rough surfaces, complete with dings and splinters provide matter-of-fact evidence that mirrors the spontaneous and willful nature of Ryman’s process. Nothing is perfect. </p> <p>Working with a range of paint types including fluorescent, acrylic, pearlescent, spray, enamel and other industrial paints, Ryman gives equal priority to color and materiality. He often asks color to physically perform. Muted tones are contrasted by bright edges that bounce hue onto surrounding architecture. Reflected color defines each work’s boundaries, while inhabiting less tangible, exterior spaces. Ryman’s titles often humorously suggest the potential for action, as if each piece required exertion to exist—or could liberate itself from a stationary existence. Perhaps Ryman’s ultimate gesture is making work from his own recycled pieces, as if his art is itself spawning and adapting.</p> <p><i>Cordy Ryman was born in 1971 in New York, NY. He</i> received his BFA, with honors, from the School of Visual Fine Arts/Art Education in 1997. His work has been exhibited widely at public institutions including PS1 Contemporary Art Center, Long Island, NY; Visual Arts Center, New Jersey, NJ; Museum of Contemporary Art, Miami, FL; University of Connecticut, Storrs, CT; Bronx River Art Center, Bronx, NY; Esbjerg Museum of Modern Art, Esbjerg, Denmark. Gallery exhibitions include DCKT Contemporary, New York, NY; Nicole Klagsbrun Gallery, New York, NY; Lora Reynolds Gallery, Austin, TX; Kavi Gupta, Chicago, IL; Stalke Galleri, Kirke Saaby, Denmark; Thomas Rehbein Galerie, Koln, Germany; and Loyal, Stockholm, Sweden. Ryman was the 2006 recipient of the Helen Foster Barnett Prize from the National Academy Museum. His work has been reviewed in the <i>The New York Times, The Brooklyn Rail, Frieze, BOMB Magazine, Artforum, Art in America, </i>and <i>Time Out NY</i>. In the spring of 2013, Ryman will install a large public commission at Michigan State University. His work is in the collection of the Microsoft Art Collection, Raussmuller Collection, Rubell Family Collection, The Speyer Family Collection, and the Museum of Contemporary Art, Miami. Ryman lives and works in New York, NY.</p> <div><br clear="all" /><hr size="1" align="left" width="33%" /> <div> <p><a href="#_ednref" title="" rel="nofollow">[i]</a>  The Free Dictionary,</p> </div> </div> Sat, 16 Feb 2013 21:40:20 +0000 Christa Toole - Phoenix Gallery - April 24th, 2013 - May 18th, 2013 <p>Painting and Mixed Media<br />SYMBIOSIS is close and often long-term interaction between two or more different species.<br /><br />Christa Toole's work explores the subjects of biology, science, energy and transformation. Using paint, thread, wax and other materials, her work transforms these materials into a fluid image. This body of work highlights the nature of shared existence, its complexities and harmonies. "SYMBIOSIS" explores the relationship between objects or forms and what they share between them. Her work utilizes forms that speak to each other with shapes that connect across canvases. The images are reflective of biological forms that at once refer to the microscopic and can also represent the macro levels of space. The work simultaneously highlights those similarities and underscores the persistent yet intricate laws of the universe and nature. Energy is a constant in all levels and is shared across entities. Energy moves from one realm into another or one body or form to another; its properties may change but the force remains constant.<br /><br />Christa Toole was chosen as a winner of the National Juried Competition curated by Tricia Yunjoo Paik, Curatorial Assistant, Museum of Modern Art at Phoenix Gallery in 2006. She has exhibited her work at many galleries in New York City and around the world including Phoenix Gallery, Cue Gallery, Artists Space, NurtureArt, Zone Chelsea, Galerie Scherer8 (Berlin, Germany), Palazzo Gotico (Piacenza, Italy), Phoenix Center for Contemporary Art and has participated in art fairs such as Fountain Art Fair during Armory week in NYC and Fountain Art Fair in Miami during Art Basel.<br /><br />See more at <a href="" rel="nofollow" target="blank"></a></p> Tue, 02 Apr 2013 23:01:02 +0000 Richard Hughes - Anton Kern Gallery - April 12th, 2013 - May 18th, 2013 <p>For his third solo show at Anton Kern Gallery, UK-based artist Richard Hughes has turned the gallery into a stage for a magic dance performed by a street gang of enchanted lamp posts, ice-cream-wafer-like garden walls and broken memorial statues found in the most dilapidated and<br />dark corners of (British) suburbia. With his first artist monograph freshly published by JRP Ringier and two recent solo exhibitions at Tramway Art Space in Glasgow and Firstsite in Colchester, England, Hughes’ work is at the center of public attention.<br />Richard Hughes is known for his exceptional skill to turn ordinary, sometimes slightly repulsive objects that might be found in a hovel of a rooming house or unceremoniously dumped by the side of the road — bleak monuments to abused domestic or public spaces — into narrative sculptures. Their placement in a gallery space instantly invites questions as to its recent history, use, and function, or imminent action.<br />Upon closer inspection, all objects reveal themselves as casts, meticulously crafted replicas of every-day things injected with an element of fantasy. The beauty within this ostensibly abandoned world lies in the moment of surprise when materials reveal themselves as “fakes.” This is the moment when hidden images and cultural memories become visible and intelligible, when the vernacular becomes a universal language. Hughes’ sculptures are not ready-mades. As facsimiles of common objects it’s not the object that is transformed but its reappropriated meaning and ability to reconfigure the object for the viewer.<br />Gradually, these objects-turned-sculptures reveal their inherent capacity to tell stories, to evoke narratives that are charged with everyday-life experience and humor.<br />Richard Hughes has had solo exhibitions at Tramway, Glasgow (2012); Sculpture Court, Tate Britain (2006); The Showroom, London (2004); and is currently presented at Firstsite, Colchester, UK, in an exhibition entitled Time is over, time has come. His work has been exhibited internationally, including presentations at the François Pinault Collection, Punta della Dogana, Venice (2009); the Schirn Kunsthalle, Frankfurt (2008); and the Museum Abteiberg, Mönchengladbach, Germany (2006). Hughes was selected for the 55th Carnegie International, Carnegie Museum, Pittsburgh (2008); the fourth Liverpool Biennial (2006), and the British Art Show 6 (2005). He was nominated for the Beck’s Futures award in 2006 and was the recipient of the EAST International award in 2003.</p> Sun, 07 Apr 2013 23:51:01 +0000