Pattern Pulp

Tuesday's Gallery Picks




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This week’s gallery picks examine the art of science and technology.

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1. Louise Despont’s Energy Scaffolds and Information Architecture examines the movement of energy at The Drawing Center
2. For Lights Out, Michael Kagan reinforces his fascination with man’s moments of triumph over nature’s limits captured through iconic imagery at Joshua Liner Gallery
3. Larissa Fassler’s work is constructed out of a mass of topographic tracking, sketches, observations, and feelings that she experiences on site, and that are then synthesized into large graphic compositions, models, and sculptures at Jérôme Poggi Gallery
4. Agostino Arrivabene’s approach to painting stems from his artistic influences Gustave Moreau and Odd Nerdrum. He follows traditional methods that include grinding his own pigments and the almost forgotten technique of mischtechnik. This attention to the minutiae has resulted in Arrivabene’s paintings actually embodying a process of alchemical transformation, in which the physical matter of painting itself is transmuted into extraordinary light-filled visions at Cara Gallery
5. Felipe Pantone’s “W3-DIMENSIONAL” takes inspiration from Teilhard de Chardin’s 1950’s theories, which postulated the existence of “an enveloping sphere of thought, a living tissue of consciousness, enclosing the Earth and growing ever more dense.” at Mirus Gallery
6. Laura Poitras’ Astro Noise examines our modern era of mass surveillance at Whitney Museum of American Art

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

Tuesday's Gallery Picks




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This week’s artists playfully experiment with size and method.

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1. Greg Bogin’s Sunny Disposition is comprised of colorful shaped-canvases where the fabric is forced into complex contortions as it is pulled seamlessly taut over wooden panels. This body of work expands upon these strategies with subtle variations of color, complexity of shape and shifts in scale at Marlborough Chelsea
2. Drawing Sound explores the intersections between drawing, sound, and performance-based art at The Drawing Center
3. Delicate Creatures showcases the works of eight contemporary artists connected by the thread of the delicate nature of their material, application and object-presence. Together, these works occupy a sublime two- and three-dimensional space, touching both painting and sculpture at Foley Gallery
4. Lorraine Loots Ants in NYC will feature print reproductions her 1″ x 1″ watercolor renderings from her two-year, self-imposed mission to create and complete one piece a day, and will also include a handful of New York-inspired originals, created in New York, for New York at Three Kings Studio
5. In Spontaneous Order, Pard Morrison’s signature geometric sculptural forms now expand to include large areas of uniform color, creating forms that are limitless in scope and measure at Brian Gross Fine Art
6. Scott Albrecht Here and Now plays off his graphic style of intricate typographic woodworks, colorful patterning and found object re-appropriation at Andenken Gallery

Tuesday's Gallery Picks




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Exploring the ephemeral with unique takes on traditional crafts and techniques .

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1. Victoria Reichelt’s paintings and Carly Fischer’s sculptures explore a common vocabulary around the precarious medium of paper at This is No Fantasy
2. Yusuke Asai paints with dirt, an ephemeral, living medium at Rice Gallery
3. The sculptures in Théâtre de la Mémoire are reminiscent of meticulously detailed dollhouses. Giai-Miniet views his boxes as a metaphor for the human condition, which is comprised of biological functions, as well as a desire to achieve intellectual and spiritual enlightenment. at Jonathan Levine Gallery
4. Celebrating 5 years of We Make Carpets’ ability to turn most anything into a stunning carpet at MU
5. Multi-generational in scope, Thread Linesbrings together those pioneers who—challenging entrenched modernist hierarchies—first unraveled the distinction between textile and art with a new wave of contemporary practitioners who have inherited and expanded upon their groundbreaking gestures at The Drawing Center
6. Cynthia Ona Innis explores environmental transitions and shifting terrains above and below the surface, from the geysers of Iceland to the fault lines of the Eastern Sierras through the manipulation and layering of textiles at Traywick Contemporary

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