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.
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.
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.
The two solo shows of Dina and Maya Brodsky currently at Bernarducci Meisel Gallery immediately thrill the viewer with sheer technical virtuosity.
The Latin origins of the word monster, monere/monstrum, mean to portend and instruct. A monster’s instructive function is abundant within the span of Western mythos: do not be, do, go near, or engage. Interaction with this other is a form of becoming.
Jane LaFarge Hamill and I met when I invited her to participate in a curation project at the now liquidated Lounge Underground Artist Collective. I distinctly remember unwrapping the first of two small paintings she delivered to the space; I was taken back in the revelation of the image.
