Pattern Pulp

Tuesday's Gallery Picks




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This week’s artists hone and reinterpret techniques in order to explore the landscapes around them.

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1. Simon Hantaï: Blancs highlights the artist’s groundbreaking series of multi-colored paintings from 1973-1974. His signature method of the pliage technique involved folding the unstretched canvas, painting the exterior and then unfolding the canvas, resulted in a composition imbued with both painterly control and serendipity at Paul Kasmin Gallery
2. Laura McPhee’s The Home and the World: A View of Calcutta presents images that are less an overview of this city of 15 million than a glimps into its complex, often conflicted soul. The photographs gauge both the history of personal spaces and impart a sense of intimacy and calm that often belies the maelstrom that can be found in the external world at Benrubi Gallery
3. Teresita Fernández’s newest body of work continues her exploration and interest in scale as an elastic concept, and the correlation between the immense and the intimate; the vast and the miniature; the macro and the micro. Shrinking the viewpoint in order to amplify what we see, Fernández worked with malachite mineral rocks, using imaging techniques to look at their interiors. What initiated Fernández’s interest in exploring the inside of these heavy, earth-bound materials was their uncanny likeness to the actual full-sized landscape of the Viñales Valley, an iconic and surreal landscape in rural Cuba at Lehmann Maupin
4. Ryan Mrozowski’s Open, Other, End duplicates, repeats, and inverts the most commonplace of imagery (oranges, polka dots, birds, flowers, grass) in endless variations. These items, broken into their constituent parts and stripped of specific or personal context, reveal the uncanny and absurd appearance of a world subject to excessive cataloguing and archivingat On Stellar Rays
5. In this new and intertwined bodies of work on view, Meghann Riepenhoff continues to explore themes of landscape, time, and impermanence and subjects of rain, ocean, and shoreline at SF Camerawork
6. Ryan McGinley’s Winter photographs portray his nude figures in frozen landscapes at Team (gallery, inc.)

 

December 1, 2015 | By: Shayna Kulik

Tuesday's Gallery Picks




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In this week’s gallery picks, our artists explore mediums and their artistic relationships.

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1. Choosing to work both within the figurative and more abstracted realms, Rich Jacobs crosses back & forth with no set boundary lines, or strict purism at Artists Republic
2. O’Keefe’s newest body of work, Things as They Are consists of ten photographs of distilled compositions of three boards, plexiglass and dowels that allow color and light to become the true material subject. Paradoxically, these straightforward photographs often defy understanding of how they were made or even that they are photographs at all at Denny Gallery
3. In her new work, Yunhee Min continues to explore the sensorial potential of color, light, and gesture. Movements refers both to literal and suggested motion and change: her gestures on the canvas, the viscosity of her paint, and the way these actions combine to produce a shifting spatiality within her compositions at Susanne Vielmetter Los Angeles Projects
4. The paintings, works on paper and sculpture on view in Eat A Peach are linked by saturated color, textured surfaces and replication of forms. Mirroring, symmetry and tactility suggest both growth and abundance at Jeff Bailey Gallery
5. Handmade Abstract brings together 13 emerging and mid-career artists who are dedicated to the visual language of abstraction and whose work emphasizes the handcrafted nature of the art and processes of fabrication. The exhibition will focus on work that is inspired by the quality and physical nature of its materials and at times shows the influence of crafting techniques; merging the abstract form with a sense of the handmade, tactile, quirky, and personal at BRIC
6. Julia Bland’s large-scale works incorporate painting and weaving, exploring the structures and patterns that combine disparate elements into a whole. Ropes, painted canvas, and fabrics woven by the artist are stitched together, forming boundaries that further bind the work – warp to weft, image to object at On Stellar Rays

September 8, 2015 | By: Shayna Kulik

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