Pattern Pulp

Tuesday’s Gallery Picks




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Explorations of shape and abstraction abound in this week’s gallery picks.

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1. A showcase of Etel Adnan’s work from across her career including paintings, drawings, poetry, film and tapestry. at Serpentine Gallery
2. A historical survey exhibition of works from the 1950s by Lygia Clark. Clark’s groundbreaking work radically innovated the relationship between the art object and audience and has become a reference point for generations of artists pushing the limits of sculpture today at Alison Jacques Gallery
3. Jaro’s paintings feature non-objective, geometric forms in a colorful mélange called geometric abstraction at Bohemian Benevolent & Literary Association
4. The line is at once a road and a horizon. Between the Lines considers the space in between. Bringing together an international group of artists, it surveys the landscape of a movement that started in the grimy backstreets of Paris, London, New York, and LA but has since exploded to become a worldwide phenomenon at The Mine
5. Judy Ledgerwood’s Pussy Poppin’ Power explores and confronts the history of abstraction, as well as artistic domestic work created by women across generations at Tracy Williams Ltd
6. Stanley Whitney presents a series of oil paintings and gouache on paper works made over the last few months in response to global events, literature and music, among other sources of inspiration. Whitney’s unique ordering system revolves around his use of a loosely painted grid, which he has experimented with in various ways over the course of almost three decades at Lisson Gallery

May 30, 2016 | By: Shayna Kulik

Tuesday's Gallery Picks




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This week’s gallery picks present the balance of whimsy and precision expressed in lush color.

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1. Robin Rhode’s Breaking Waves, whimsically depicts a young boy surfing in the sea. The illusionistic swell of the waves–articulated by Rhode’s drawn gestures onto a dilapidated city wall–reiterates the boy’s deft maneuvering of the ocean and this type of athletic physicality is echoed in the accompanying wall drawing at The Drawing Center
2. Rhythmic and lyrical, with a combination of pre-ordained structure and improvisation inspired in part by his love of jazz, Stanley Whitney’s square-format paintings are arranged rectangles of vivid, single colors in a deliberately irregular grid, with the close-fitting, many-hued “bricks” or “tiles” stacked vertically and arrayed in horizontal bands in Dance the Orange at Studio Museum Harlem
3. In Plane Figures, artists working in Argentina, Peru, and Chicago are brought together by a shared interest in abstraction as a phenomenological, first-person experience of painting’s two-dimensional plane. In a selection of works that engage the history of geometric abstraction and op art, the artists boldly manipulate or violate the conventions of these styles in visceral ways at The Mission Projects
4. James Kennedy’s abstract paintings feature intricate, completely knitted surfaces that rely structurally on a buoyant tension of line, form, texture, and tonality. Despite the precision of his works, which contributes to their measured and harmonious gestalt, Kennedy’s process is unpremeditated; he does not create preliminary drawings, nor does he make use of referential material at Dolby Chadwick Gallery
5. Vera Paints a Rainbow showcases Vera Neumann’s use of color as means to express emotions through compositions characterized by a colorful palette. The works on view, organized following the rainbow spectrum—red, orange, yellow, green, blue, indigo and violet—emphasize Neumann’s rich use of color, which in her words, “is a marvelous way of expressing emotion.” at Alexander Gray
6.  In response to the complex and elusive nature of color, Maureen McQuillan has created her own chromatic system, one that is both orderly, but also one that would “heat up, break down and short circuit itself in no time.”  at McKenzie Fine Art

July 14, 2015 | By: Shayna Kulik

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