Pattern Pulp

Tuesday’s Gallery Picks




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Training our eyes on personality, perspective and the art of the gesture in this week’s gallery picks.

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1. Our perception of space, our engagement with space, and through it, our interaction with each other, has never been more pertinent as a topic for exploration. Just as the adoption of perspective as a means of representing reality became synonymous with how Europe positioned itself with a view to the rest of the world in the 15th Century and beyond, so our attempts to rethink this use of perspective in art, could have a profound effect on what happens in our age, and in the future at Grimm Gallery
2. Helen Levitt’s playfully poetic photographs, made over the course of sixty years on the streets of her native New York City, are notable for the way they find delightful twists within the daily lives of her subjects. One thing that set Levitt apart from the more socially concerned documentary street photographers of her time was her focus on the body language of her subjects. Frequently what her photographs are most about are dance-like gestures; by turns elegant, or comic, and sometimes both at once at Laurence Miller Gallery
3. Menagerie showcases an eclectic body of work from some of the most recognized names in photography at Michael Hoppen Gallery
4. Anthony Lycett’s Self-Styled includes more than 200 diptychs representing eccentrics, dandies, punk, gothic, transvestites and the vanguard of London and Paris at Isabelle Gounod Gallery
5. Within seemingly vacant, haunted domestic and public spaces, Farley Aguilar’s distorted characters populate familiar scenarios of unrest, disquiet, and active protest. There are hints of the figures looking outward, beyond their present conditions, but they remain static and dazed at Spinello Projects
6. The Age Of Innocence compares Andy Rementer’s urban tales to Fulvio Mendini’s Edenic allegories, drawing attention to their shared graphic matrix, the terse tendency and the predilection for flat colors and bright hues. Both artists build a hypothetical and sublimated world, dominated by geometry, where characters, objects and places pave the way to the discovery of additional, multiple dimensions at Antonio Colombo Arte Contemporanea

Tuesday’s Gallery Picks




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This weeks artists contemplate and expand upon their influences.

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1. Mark Dorf employs a combination of photography and digital media in Emergence. Through his altered images of forests and mountains, Dorf scrutinizes the influence of information on the sublime, examining how we represent the natural world through the filter of science, math and technology at Postmasters
2. Elise Freda’s work in The Continuing Line uses encaustic and explores theories and painting techniques from both Eastern and Western culture, thus examining a world of contrasts: light/dark, warm/cool, surface/depth, and organic/ geometric at Causey Contemporary
3. Sisters Claudia & Julia Müller employ various processes of translation (statue becomes drawing; ceramic becomes canvas; print becomes painting) to create an oscillation between the static and dynamic at Maccarone
4. The Avant-Garde Won’t Give Up: Cobra and Its Legacy, is a two-part exhibition taking place in New York and Los Angeles which will offer a broad and critical reassessment of Cobra—an essential postwar European movement named for the home cities Copenhagen, Brussels, and Amsterdam. Cobra is frequently remembered as a style of Northern European painting—merging figuration and abstraction—that emerged in the traumatic wake of World War II at Blum & Poe
5. Dan Bayles’s The Apotheosis of Washington explores the relationship between politics and aesthetics at François Ghebaly Gallery
6. Iva Gueorguieva’s collaged paintings, works on paper, and sculptures traverse a terrain that is both physically present and illusionistic at ACME

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