“The famously chromophobic Chelsea got a shock of color on Thursday night,’ notes The New York Times in its review of a new show curated by Peter Stamberg BArch 72 and Paul Aferiat, partners in life and in the Manhattan-based firm Stamberg Aferiat + Associates.
Invited to design and organize the exhibition Art on Color, which opened on June 5 at Gemini G.E.L. at Joni Moisant Weyl Gallery, the architects chose a vibrant backdrop of oranges, yellows and greens for works drawn from the gallery’s collection. The show presents pieces that pop by giants of the art world such as John Baldessari, Ann Hamilton, David Hockney, Roy Lichtenstein, Man Ray, Robert Rauschenberg, James Rosenquist,Joel Shapiro and more.
Stamberg and Aferiat both credit their friend David Hockney for inspiring their signature feel for color, which they use to great effect in their own homes (see pages 34–39 in this issue of RISD XYZ) and their work for clients. “He pointed out to us that when you look at art on a white wall the first thing you see is the frame, but when you look at art on a wall with color, the first thing you see is the art,” Stamberg explained at the opening, where he looked at home in a fluorescent orange jacket and his partner sported pink seersucker.
Toy Car (oil on linen, 8x10”) by Frank Gardner 86 PT
Rhode Island art lovers are invited to the grand opening of Fine Art at Chapel View in Cranston tomorrow (Saturday, May 10) from 5–9 pm. The gallery is co-owned by RISD alum Mark Goodkin 87 PT, who will be showing his pastels and paintings along with work by dozens of other artists, including many fellow alumni.
Goodkin describes the new space as “an artist-run gallery to promote artists” and has pledged to donate 10% of sales to a different charity each month. These are just a few of the many great pieces on view in the inaugural exhibition at the new gallery, which is at 4 Chapel View Blvd in Cranston, RI.
Goodkin’s Skull with Tits in a Scroll (pastel, ink, gouache and charcoal on paper, 22x30”)
Where Lines Wander (mixed media on canvas, 36x44”) by Cesare De Credico 05 PT
Ski NYC (oil on canvas) by Trine Giaever 87 IL
Raked, a new site-specific installation by Sculpture Critic Jane South, opens at the Spencer Brownstone Gallery in NYC this Saturday, March 29, with a reception from 6–8 pm. The title of the piece references the theater term raked, which refers to a stage that is sloped down toward the audience to facilitate a clear view of the action. In South’s theater, the stage is strewn with hand-cut paper sculptures that appear to be scattered haphazardly. Shadows cast by grates, cables and supports create mysterious patterns on the walls and floor of the installation.
Raked builds on Floor/Ceiling (shown above), a theater-inspired installation South exhibited last year at the Aldrich Contemporary Art Museum in Connecticut. “There is a strange, in-between sort of an experience unique to working in the theater,” she explains. “This becomes weirdly concrete when you get to lurk behind the set … amid carpentry and coiled cables … while the play is going on. It exemplifies the delicious, eerie, expectant absurdity of it all – and the slippage that also occurs in life, between the world and the world of the imagination.”
Floor/Ceiling detail (2013)
A selection of South’s Escher-esque Flats drawings will be on view alongside Raked. The exhibition runs through the month of April.
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.