Pattern Pulp

Tuesday's Gallery Picks




gallerypicks_patternpulp_167

This week’s artists explore the intricacies of creation.

*            *            *

1. At an imposing thirty feet wide, Contact III is composed of seventeen knotted sections of rich, orange manila rope and is the largest in the Contact series – one of Françoise Grossen’s earliest explorations of vertical repetitions. Hovering above the floor, the suspended mass is a paradoxical exercise that simultaneously employs and defies gravity, creating both tension in the fiber and an impression of lightness, fluidity, and grace at Blum & Poe
2. “Lucas Samaras: AutoPolaroids, 1969–71” is a solo exhibition that brings together more than 50 photographic works from the artist’s early experiments with the medium, including his first AutoPolaroid at Craig F. Starr Gallery
3. Combining image elements that he photographed in a wide range of international locations, Simen Johan’s images reveal poetic and often unexpected relationships that speak to the illusory and multifaceted nature of existence at Yossi Milo Gallery
4. Amy Sillman’s works can be categorized as abstract painting, although her abstractions repeatedly allow forms and figures to be recognized at Portikus
5. Maureen Chatfield: Patterns in Time is an invitation to contemplate the ephemeral, everyday beauty hidden in plain sight at Rosenberg & Co.
6. Sigrid Sandström’s practice actively interrogates the methods by which viewing initiates and elicits thought and cognition at Anat Ebgi

July 28, 2016 | By: Shayna Kulik

Tuesday's Gallery Picks




gallerypicks_patternpulp142

The art is this week’s gallery picks is all about focus and shifts in practice and process.

*            *            *

1. Steve Roden went a year without painting and then began again at Susanne Vielmetter Los Angeles Projects
2. Subliminal Shifts unveils an assemblage of artists living and working in New York, Berlin, Paris, and Chicago, all of who predominantly practice an abstract idiom, investigating paint through a lens that is entirely distinct at Tracy Williams, Ltd
3. In “Voyeur”, Vanessa Prager installs sixteen new paintings, some viewable only through a tiny peephole. Prager paints dense and furry oil paintings that relish in the peaks and valleys of extruded oil paint. With multiple colors of paint on the brush she blends pigment not just in the X or Y dimensions but gravity-defyingly outward into the Z. Her subject is the face, and her technique creates an image that hovers between figuration and abstraction in a sort of non-image at The Hole
4. Margo Wolowiec’s Double Blind expands upon her distinct woven practice with three new freestanding sculptures grounded by a large double-paneled wall work. In this body of work, the artist continues her examination of digitally sourced images while presenting the viewer with a conflicted field of doubles through the artist’s process of dye sublimation transfer onto polymer threads and weaving them together on a handloom at Anat Ebgi
5. Emanuel Röhss’ new works in Invitation to Love stem from the artist’s recent examination of the relationship between the Hollywood entertainment industry and the Ennis House in Los Angeles, designed by architect Frank Lloyd Wright. The exhibition’s title is borrowed from the name of a fictional soap opera which appears in the TV series Twin Peaks at Thomas Duncan Gallery
6. Further Notice presents new figurative and abstract paintings in Wayne Herpich’s distinctly rigorous technique, one where he employs a series of reiterative horizontal, sometimes layered, wavelike forms across the surface of the canvas. In full command of his often bombastic decisions in pigment, patterning, and texture, Herpich creates masterful, dissonant, compelling, complex and innovative works that resist classification at Blackston Gallery

 

February 2, 2016 | By: Shayna Kulik

Tuesday's Gallery Picks




gallerypicks_patternpulp122

This week’s artists are driven by their curiosity about the world and methods of perception.

*            *            *

1. Gergö Szinyova’s latest work, the industrial hues of grey, ochre, violet and spearmint reflect on the imagery that influence his painting, gathered from browsing the internet for photographs of modernist environments. The artist translates the experience of browsing, and the urban human environment, as an abstracted memory of kinetic gestures and hidden content at Anat Ebgi
2. Ruth Tabancay’s latest work spins the hexagonal form into various configurations and renders them in a range of materials that correlate to the concepts of the finished work. Tabancay is driven here by a childlike fascination with geometry, and an educated intellectual curiosity about microbiology at Mercury Twenty
3. Broken Colours features six artists whose works employ color as a near material.  It considers how a schismatic chromatic composition might lead to an integrated structural form, and vice versa at Nicholas Metivier Gallery
4. Liz K. Miller has created a new language to communicate musical scores to produce the intricate etchings and prints presented in this exhibition. The premise for these works is the use of the repetitive motifs that occur in music in order to generate concentric patterns. The resulting imagery looks like it could have naturally occurred or grown, like constellation patterns or rings of a tree at BEARSPACE
5. While many former graffiti artists drop their pseudonyms when they enter the world of art, Jason Williams (aka Revok) refused. In Revok, he goes beyond the self to examine perceptions of consciousness and unconsciousness at Ruttkowski;68
6. Inspired by his Brazilian heritage, Fernando Chamarelli channels the disparateness of his cultural environment through his work, tapping into his country’s rich history of contrasts and coexisting diversities at Thinkspace

 

August 18, 2015 | By: Shayna Kulik

Tuesday's Gallery Picks




gallerypicks_patternpulp57

The artists in this week’s gallery picks take a tactile approach with the incorporation of textiles, weaving and embroidery in their work.

*            *            *

1. Charting the high points of June Wayne’s pioneering oeuvre, this exhibition features works from each of her major periods, from her early Social Realist paintings through her lithographs responding to the literary works of Franz Kafka and John Donne, to The Dorothy Series, through her tapestries and innovative light-reflective paintings, to her late digital prints at Pasadena Museum of California Art
2. This exhibition marks an evolution in Margo Wolowiec’s practice. Referencing patterns of traditional Navajo rugs and Bauhaus weavers, the large-scale works in this exhibition move fluidly in and out of various geometric structures, breaking a strictly gridded logic and allowing for a more painterly approach at Anat Ebgi
3. Constantly searching, Sigmar Polke studiously avoided any one signature style or medium; his method exemplified the definition of alibi, “in or at another place,” which also suggests a deflection of blame at Museum of Modern Art
4. Ghada Amer ‘s is brightly-colored, embroidered “paintings” in which depictions of women and feminist texts are carefully stitched and sewn on the canvas at Cheim & Reid
5. Through donated business attire from banks and corporate employees, Christina Massey re-purposed this fabric and hand stitched it together with sections of her own failed works on canvas at Dacia Gallery
6. Florencia Walfisch’s The Importance of Minimal Gestures at Gallery Krom

April 29, 2014 | By: Shayna Kulik

Tracking Repetitive + Awesome.
On Instagram.