Wendy Seller: Visual Metaphors, New Paintings, a solo show of 18 new works by Assistant Professor Wendy Seller 75 AE, closes at RIC’s Bannister Gallery tomorrow. So far it has gotten some good press in the Providence Journal and Art New England.
The Journal’s art critic Bill Van Siclen writes:
Seller has a knack for mixing images drawn from the dusty vaults of art and architectural history with cutting-edge digital-imaging and photo-editing software. The results, which suggest a mash-up of Old Master painting and 21st-century technology – Michelangelo-meets-Macintosh – are weirdly fascinating but also a little disturbing.
Critic Alicia Faxon is equally impressed, noting:
Seller is a painter of the liminal, offering access to worlds present and past. She upsets our expectations and challenges our perceptions in traditional and digital methods and configurations.
See the show while you still can and let Seller know what you think. It closes tomorrow and the gallery is open from noon to 8 pm both today (though check for a possible snow closing – again! :) and tomorrow.
Cherubini deftly combines glazed earthenware, terracotta and porcelain with pine, paint and MDF to create sculpture with fabulous form and inviting textures.
The show continues through October 26.
In this week’s review of Tom Sgouros: Drawn to Paint, a retrospective of the late professor emeritus’ work now at Woods-Gerry Gallery, The Providence Phoenix quotes several of Tom’s friends and colleagues from RISD, including Professor Emeritus Malcolm Grear and author/illustrator Chris Van Allsburg MFA 75 SC.
The review also notes that thanks to the efforts of Illustration Department Head Robert Brinkerhoff, Director of Exhibitions Mark Moscone and gallery owner/artist’s rep Cade Tompkins, the show itself is beautifully conceived and executed:
Sharply organized and handsomely installed…, the exhibition is a model of the kind of thorough, thoughtful attention it would be great to see more local artists get here.
Drawn to Paint continues at Woods-Gerry through September 26.
LA-based artist Ryan Trecartin 04 FAV has been attracting a lot of attention this summer for the Not Yet Titled video and sculptural installation he created for The Encyclopedic Palace, Massimiliano Gioni’s massive undertaking at the 55th Venice Biennale.
“There is nothing else in today’s art world even remotely like Ryan Trecartin's videos,” Art in America notes in the preface to an interesting interview with the artist. The current installation in Venice is “a sci-fi theater of the absurd for our manically paced YouTube era – a singular vision created by Trecartin in collaboration with his creative partner, Lizzie Fitch.”
Trecartin’s significant presentation – marking the beginning of a new body of work and his most significant exhibition since his 2011 MoMA PS1 show Any Ever – takes up an entire room of the Arsenale and introduces the final curatorial section of The Encyclopedic Palace.
In discussing his work and process with Art in America, Trecartin notes that he has “always been very unnostalgic about history” and is now, more than ever, focused on the present.
“If you’re making something for history or legacy or the ages, it’s in vain,” he says. “The only thing that matters to me at this moment is making things for the present – and the future. It’s not about becoming a part of history. Timelessness is a romantic throwaway.”
Trecartin’s work is on view through November 24, when the entire Biennale wraps up in Venice.
In a summer show called Home Alone, R.C. Sayler MFA 10 SC is showing a collection of quirky objects at the Peoria Art Guild in Peoria, IL.
"When people hear the title Home Alone they automatically think of that movie,” Sayler told the local newspaper. “But before the movie people were home alone…. If you are home alone, there are things you can do because nobody’s watching. Your mind can play tricks on you. Your mind becomes more active. It’s like that in a studio practice….”
"Artists are generally selective about what they make," Sayler also pointed out. But his approach to this particular exhibition was to “not to be so selective” and instead put a lot of disparate work out there “and see what the conversation becomes.”
Home Alone continues through August 7 at the Peoria Art Guild.
LEANING FIGURE (porcelain, rebar, air dry clay, epoxy, 48 x 36 x 36”)
“These porcelain works explore the power people have when they come together, however threatening that may be,” Manson says in announcing the outcome of her two-year residency at California State/Long Beach, where the exhibition is on view.
BASSINET (porcelain, epoxy, plaster, wire, 60 x 26 x 30”)
“Enigmatic and frighteningly original, Rebecca Mansion began her artistic journey with a simple question: ‘Why do all the legs of a chair have to reach the ground?’” notes critic Jerry Adler. “Despite never being seen in daylight, she has emerged as a sculptor of the imagination, of nightmares refracted through humor, of figures stripped to sun-bleached filigrees of bones that lay bare the giggling monsters inside each of us.”
The exhibition features a collection of psychologically probing performance pieces, photography and video created during Gutierrez’s last few months at RISD and over the last year from his home base in Vermont.
In his Real Dolls photographs, the artist assumes the roles of Ebony, Luxx, Mimi and Raquel, four doll personas he created and performed after researching the phenomenon of life-sized sex dolls.
Part of what makes the work especially compelling is that Gutierrez puts himself at the center of it all, questioning conventions about race, gender, class and sexuality while styling and shooting himself for the photographs and writing, directing, producing and creating his own music for his videos.
“Martín started the video series – called Martine – in a junior studio ,” notes Associate Professor of FAV Daniel Peltz. “Since graduating he has been building on the Martine series and this work is now the primary focus of his first solo show – a pretty remarkable accomplishment.”
“I think of my work as documentations of transformation and performance,” Gutierrez says. “While gender is undoubtedly always a question in my work, I don’t see it as a boundary.”
His solo show continues through August 16 at Ryan Lee Gallery, 527 West 26th Street in NYC.
The Nigger Huck Finn Pursues Happiness Beyond the Narrow Constraints of your Overdetermined Thesis on Freedom – Drawn and Quartered by Mister Kara Walkerberry, with Condolences to The Authors
With a title as prickly and unsettling as the imagery it represents, this installation by Kara Walker MFA 94 PT/PR went on view yesterday at Sikkema Jenkins & Co in New York, where it continues through May 22. It’s the first time the 2010 piece – which has been shown in San Francisco and Torino, Italy – is being exhibited in NYC. The installation makes use of Walker’s signature cut paper silhouettes, along with framed gouache and ink on paper pieces.
Huma Bhabha 85 PR could hardly dream of a better response to Unnatural Histories, her current solo show at MoMA PS1, than this ecstatic summary in The New Yorker:
A stunning abundance of recent sculpture and works on paper by the Pakistani-born virtuoso. Who would have thought that today’s strongest sculptor would advance forms of pedestalled figures with heart-wrenching, humanistic content? For all their slangy use of Styrofoam, wire mesh, crumpled drainpipes, bones, and other detritus – along with the more traditional wood, plaster, and bronze – Bhabha’s creations convincingly resuscitate several sorts of lapsed tradition, both primitive and classical. She’s our hip-hop-era Giacometti.
In its own rave review (called Huma Bhabha Does Rodin Meets Mad Max), The Village Voice calls Bhabha’s sculpture “a rare species of mesmerizing bravura 3D art.”
And New York Times critic Karen Rosenberg notes that the juxtaposition of the materials she uses is “arresting,” with the overall effect of the show being to “bookend the history of figurative sculpture, from ancient fertility icons to what could be the last vestiges of the human race.”
In this post from polich tallix foundry, you can find out more about Bhabha’s process for producing her lost-wax cast pieces – some weighing as much as 1,100 lbs.
Unnatural Histories continues at MOMA PS1 through April 1.
On Tuesday, February 12 Leila Heller Gallery in Manhattan will host a panel discussion on the extreme economic disparities in global society. The 6:30–8 pm discussion is free and open to the public, and is being held in conjunction with a two-person exhibition at the gallery featuring the work of Gayle Mandle MFA 97 PT/PR and her daughter Julia Mandle.
Panelists include Chrystia Freeland, author of the well-received new book Plutocrats: The Rise of the New Global Super-Rich and the Fall of Everyone Else; Nobel Prize-winning economist Joseph E. Stiglitz, who recently published The Price of Inequality; Roger Mandle, an art historian and former president of RISD, among many other art-focused positions throughout his career; and Gayle. The topical show itself runs through February 16.
In an interview in the January issue of Modern Painters (and published on ARTINFO), Painting faculty member Christopher K. Ho clearly shows his “mordant wit.” He also talks about the inspiration behind his new show Privileged White People, which opened last week at Forever & Today in NYC.
In looking at the genesis of his well-named exhibition, Ho told aritst/interviewer Roger White – a privileged white person himself – that in teaching at RISD for over a decade, he has “encountered many preternaturally well-adjusted students. Their social ease impresses me,” he admits, adding that “looking back on my own early 20s, I didn’t have that at all.”
So Ho began wondering: “How does well-adjustedness manifest in art? What is the visual and formal vocabulary of well-adjustedness, or of a generation of particularly well-adjusted people?”
Read more about it in the interview or better yet: see the show. Privileged White People continues through February 17.
To celebrate the launch of Horses, Rizzoli’s handsome 224-page monograph of new photographs by Jill Greenberg 89 PH, her New York gallery Clampart has been hosting a stunning show called Jill Greenberg: Horse (singular) this fall. And the exhibition has now been extended through December 21.
Mr. P #1587
In the book, Greenberg writes about “how the photography relates to gender issues and whether horses are perceived as feminine or masculine,” she says. She ends up “getting to the place where they’re both” – a combination of manly muscle, sensual eyes and soft, pastel colors.
In contrast to her previous series on monkeys and bears, the Horse photographs aren’t quite as anthropomorphized, Jill maintains. “If the monkeys and bears series were portraits of animals as actors, these are pictures of horses as if they were supermodels. It’s about figure studies and their physiques and their silhouettes.”
For more on Jill, check out last month’s interview with her on Los Angeles I’m Yours.