had the lovely piece below in Art on Paper 2023: The 47th Exhibition. Combining the unusual and routine, the extraordinary and mundane, she brings together life’s many aspects of inherent spontaneity and attempted order. She merges handmade methods of sewing with the mechanical technology of the risograph-a now outdated printing machine once used widely by schools and churches to create materials such as worksheets and pamphlets.
#jacquelynstrycker
No one word title or reflections on words/ideas this week. Object making is the core of my practice so I’m checking in with myself and you the reader on where that sits atm. Not that organizing and managing forward momentum towards goals isn’t important, and in fact, given the collection of projects that is my studio (and a reflection of my ADHD) it is as much an area for learning as the former. But I digress…
I’ve finished up a working on new shaped canvas and have a couple more small pieces in process. I also stretched two large canvases in order to begin larger versions of a couple of smallish pieces (last two images)- all are developments of sketches or work done during my sabbatical, for which I remain grateful.
The main project that has been drawing time and energy is new iteration of a project that I used to call remixes. Local folks have seen iterations of this project (first two images) at Golden Belt Arts and also at Hartwell in partnership with Charlotte Russell, and will also have the chance to see the newest piece in December at Lump in this year’s iteration of Strictly Voluntary. There is a hint at the upcoming development in the short video below.
Time lapse of me creating the modular pieces for this work (seen collected in a box above as well).
Voila!
I’ve also collected some glass- a lot of it actually- and doing what can only be described at this point as experiments with different paint applications, mostly with a high level of transparency. In addition to developing ideas about material reuse (which relates to the project above) the substrate relates to my interest in the Light and Space movement. Part of the “work” (I hope) will “exist” on the wall as reflected light. I also really like the contradiction of making the paint both more physical- that’s all there is, right there on the glass- while simultaneously undermining the same via transparency. Lots of iterations to do and decisions to make, including how (technically) to photograph any finished work.
is also in Beyond Painting (he does still make paintings in addition to installation work- more ).
#patrickschmidt
Hyperallergic said Lackey’s “cut paintings” which were in Openworks at Pie Projects (Santa Fe) “bring to the forefront the often invisible or rarely acknowledged experiences of connection.”
#janelackey
recently exhibited “Mother Cabrini to Sunset Park” at Chefas Projects in Portland, his wcond show with the gallery.
#johnvitale
newest, “Desire,” is on Display in Paris and Juxtapoz has words. Deiana’s works are inspired by and profoundly related to language, words, letters and the way they shape our perception and patterns of thinking. Their history, often charged with symbolism and hidden meanings, is deconstructed, appropriated and subtly woven in.
#francescoigorydeiana
Casa Triângulo gallery, which celebrates 35 years of activity in August 2023, is delighted to present amarelo vento azul floral (as cores se acumulam em sua atmosfera tecendo luzes), the fifth solo exhibition by assume vivid astro focus at the gallery. Since 2001, when Eli Sudbrack and Christophe Hamaide-Pierson formed assume vivid astro focus, museums, galleries, and public spaces worldwide have been set aflame with the duo’s image-laden, neon-bright, Carnavalesque installations. Fusing drawing, sculpture, collage, video, music, and performance, assume vivid astro focus creates immersive spaces expressive of a lust for life and a belief in the “freedom to share/spread/absorb/assume/contaminate/inseminate/devour.” Abundant and irresistible, the pair’s work also poses challenges—to restrictions of speech and civil rights and to rigid classifications of identity.
#assumevividastrofocus
Korean painter Heejoon Lee compares his work to a kind of “platform.” Rather than anchoring in a single idea, his abstract oil and photo collage works place viewers into a pictorial space built through experiments that can mobilize their own experiences, memories, and knowledge.
#heejoonlee
An omnipresent figure in New York’s alternative art scene of the 1980s, Colo bridges two worlds, a bifurcated experience reflected in his works: “My paintings are not abstract or figurative,” he says, “they are hybrid, like myself.”Hyperallergic says Papo’s recent at Caldéron was one the shows to see this September in NYC.
#papocolo
Judith Mullen is a Chicago-based and educated artist making sculpture, paintings and installations.
#judithmullen
FROSCH&CO is pleased to present News From Nowhere, Steve Greene’s fourth solo exhibition with the gallery. The show features the artist’s most recent series of works and marks his return to painting. Two Coats also has words.
#stevegreene
Mrs. (located in Maspeth, Queens) is currently presenting Feral Currents, Serbian painter Nevena’s first solo exhibition with the gallery. Across nine canvases, Prijic describes bold, swirling anti-forms which burst with the energy of the cosmos, reaching toward us, declaring a new way of life.
More
#nevenaprijic
Painting After Art is Dead 