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 She merges handmade methods of sewing with the mechanical technology of the risograph-a now outdated printing machine once used widely by schools and churches to create materials such as worksheets and pamphlets.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
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
The Painting Center is pleased to present Sue Havens: Motherboard. This exhibition features large collage relief paintings, works on paper, paper constructions, and ceramic sculpture. Works for Motherboard began by rolling up finished task lists during virtual faculty meetings in the spring of 2020. Other ephemera related to being an artist, mother, and professor was incorporated into the process. The heightened anxiety of the pandemic and the relentless pace of applying for tenure were absorbed into tightly rolled regurgitated balls and began to find their way into paintings. Other material sources include junk mail, supermarket circulars, origami experiments, holiday wrapping paper, fast food bags, report cards, recreation center puzzles, tests, and PTA fliers, finding footing on supports made from Amazon boxes. Paintings on paper also evolved including collaborations with her son.
#suehavens
like Lily is resounding, variegated, leaves at Mrs (Two Coats of Paint has words). More
#fabiennelasserre
is a recent Fountainhead artist in residence. In her practice, Medeiros articulates an approach to painting that transcends the specificities of the medium, making use of sculpture, performance, and installation work. Pursuing a hybrid framework for the pictorial, Medeiros questions artistic media by going beyond their conventional formats, producing paintings and in situ installations that explore the relationships between space, time, and the corporeality of art and of the viewer.
More
#maneolamedeiros
Klaus von Nichtssagend recently presented Herlads, Kemar’s second exhibition with thr gallery, including work which is building a visual patois and at its foundation lies heraldry, a system of motifs compiled to identify and evoke the histories and legacies of the family. Assuming this tradition for his own, Heralds presents a suite of paintings centering on his parents, Grafton and Ionie Wynter-Bolden, and the dishes tethered to his childhood apartment at 770 Empire Boulevard, in Brooklyn.
#kemarkeanuwynter
Two Coats has words about Ben’s most recent Something Just Happened at Transmitter which was between repose and precariousness. More
#bengodward
Saw below recently in Something Earned, Something Left Behind at the Center for Craft in Asheville. Sok’s piece speaks to the traditional Cambodian craft of Pidan silk weaving as an act of resilience. Pidan were highly regarded in particular by French colonial archivists, and as a result there have been ample attempts at documentation, collection, and restitution of the cultural practice through its collection into museums or in the reconstruction of textile pieces funded by organizations outside Cambodia. As a result, these objects have become decontextualized and are visible only to people in museum spaces.
By placing contemporary imagery of the artist’s family onto a culturally sacred object, Sok offers a nuanced way of approaching the traditional weaving practice as an act of healing from familial and cultural trauma.
#lindasok
De Wain Valentine was born in Colorado and arrived in L.A. in 1965 to teach a course in plastics technology at the University of California, Los Angeles (UCLA). He is regarded today among the earliest pioneers in the use of industrial plastics and resins to execute monumental sculptures that reflect the light and engage the surrounding space through its mesmerizingly translucent surfaces.
#dewainvalentine
A 1927 painting by Paul Klee inspired this series by Vera Molar for which she programmed a computer to “place parallel lines within a square grid and vary the alignment (horizontal, vertical, diagonal) and the weight of lines as well as their closeness.” Numerous variations could be produced, which allowed her to “bring to light and to realize images…which only pre-existed in a vague, uncertain way in my imagination.”
#veramolnar
Saw below recently at LACMA along with work by Craig and Peter.
Roland Reiss began working with plastics in the early 1960s in order, in his words, “to move away from the brushstrokes, paint, and canvas of the Abstract Expressionists… The technical elements of painting could be replaced with new surfaces, colors, textures, reflectivities, and physical strength.” Red Edge is one of a series of works he created by making latex molds of ceiling panels used to diffuse fluorescent lights, then spraying the molds with polyester resin in candy-colored hues and backing them with fiberglass. The resulting honeycomb-textured surface reflects light, generating an optical effect that causes it to appear to vibrate. As Reiss described it,
“You have the surface of [the] painting itself moving in space.”
#rolandreiss
Painting After Art is Dead 