We ascend the stairs together, all the while my friend insisting we must be trespassing as I’m suspecting the feeling of exclusion and threat is most certainly of design and desired by the gallery- an escape room of sorts for gentrific 20-somethings seeking their soul’s calling in “the mystery” of art.
There is magical realism when reality in a work slips into reverie. Aaron Gilbert’s Psychic Novellas strobe between unflinching social realism and nightmare.
Within the new Tribeca gallery Lubov, upstairs and unassuming, I found the paintings of Katrina Fimmel.
His is true art floating through the thick fog of contentless, deskilled, rapidly produced art world uneducated wealthy person chicken feed that saturates and obstructs true voices.
Her art contains something intimate though expansive; it is filled with the force of geometry and nature, little small truth’s obsessive repetition that insists until a collective simplicity becomes god-like, like a pedal to a flower, a leaf to the tree.
I see in your work a levity reached through naivety and then grounded in cynicism with a magician’s trick.
Alessandro Sicioldr follows in a long tradition of visionary artists. His works are directed by an informed unconscious, by the Jungian depths of communicative symbol.
Jamie Adams creates metaphysical realms of collapsed time and indeterminate gravity punctuated by acidic color and sexuality. He weaves classicism, the old masters, old Hollywood, disco, nature, and modernism into floating, lucid, beautiful dreamscapes
The two solo shows of Dina and Maya Brodsky currently at Bernarducci Meisel Gallery immediately thrill the viewer with sheer technical virtuosity.
Sans Marco is a repurposed bedroom dressed as white cube venue in the back of artist Joey Frank’s apartment. The irregularity of the space is an aside to encountering the art of Colin Oulighan, whose focused and intelligent paintings sing in this context.
According to Jungian theory, the presence of a house in dreams is an archetypal representative of a return to our first house, the womb, and the way it reveals itself to us informs our understanding of the human psyche.
“I have always inserted the male body into the realm of observed passivity, a placement that as you rightly mention is all too often reserved for the female body.”
With the realization that his skills could be used to make a deeper connection, Steger began to make non-utilitarian objects under the mentorship of assemblage artist Raymond Barnhart.
Martin constructs surrealistic dystopian visions of an abrupt reintegration of exotic animal life into the ruins of industrialization.
There is an immense pool of talent whose voices are diminished, if not muted, because of a lack of resource and connectivity to a secluded, exclusive, and unregulated market driven by the knowledge of no artistic or learned authority but by the tastes of the generally uneducated, gambling rich.
