TODD KNOPKE: CEC (changing everything carefully) |
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Upfront: Todd Knopke |
Gallery: Todd Knopke |
Sometimes I think Tracy Miller paintings play with the way subtle, formless levels of energy might coalesce into matter and then suddenly and unexpectedly become oddball gems like pineapples, bundt cakes, doilies, lobsters, pigs, six-packs of Budweiser... That transformation relates to the way I see her musing with her busy, if not chaotic, universes of abstract shapes and marks and erratically punctuating them with the magnetic force of objects. The appearance of the recognizable object is used to momentarily organize the experience of the painting. And at that moment of clarity the disparate nature of things ceases and it becomes clear that all the elements are essentially quite similar: made of paint, related in color and shape, alive with equal intentionality and intensity... The artist's sense of adventure runs through every level of these paintings and at times borders on the magical poof - here it is, now have a taste of this. | ||
Upfront: BILL JENKINS |
Gallery: CARY SMITH: Splat |
Gallery: GARY BATTY: Drawings |
Upfront: John Torreano over Bill Jenkins |
Gallery: JUDY LINN: 69-76 Photographs of Patti Smith Judy Linn's photographs remind me of a description I've long carried in my head, probably for forty years or so, and probably from Lao Tzu tho I'm not really sure, that equates walking thru a stream without disturbing the water with the way to live. She is a great observer of how the big and small pictures are already within one another. I love how she loves the grays, and how she fades light into white the way an abstract painter does. Her photos exude a softness that I want more of in this world, they invite touch. That touch says the world is to be enjoyed and absorbed and clearly Patti and Judy did. This fashion shoot that Patti Smith and Judy Linn evoke is a great tribute to the perennial richness of life on the skinny. |
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Patti with Bolex, 1969, silver gelatin print |
Upfront: CLINT JUKKALA |
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Oxbow, 2011 |
Gallery: NAOTO NAKAGAWA: Earth Wave Paintings In the Earth Wave paintings, the Naoto Nakagawa has added a compositional device, transparent concentric rectangles - frames, portals, layers, time lapses, geometry: man made things - that disrupt yet also concentrate his images of the natural world. And while the palette is pumped up, it is also limited and used as a way to graduate and spatially define the territory of each the concentric rectangles. Layering and intersecting the representation of flowers and foliage, they create a push and pull, if not a pulsing, that leads us into the central focus of
the painting, the center of a flower which in its representation moves swiftly from vegetation to gender to the erotic core that is life and death. |
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Naoto Nkagawa, Earth Wave IV, 2010 |
Upfront: REBECCA POTTS / JASON REPPERT
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Rebecca Potts: Wall Composition, 2009, Jason Reppert, No Love Lost, 2011 |
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ISABELLA KIRKLAND, Nova: Emergent, (detail) 2011 |
Upfront: CARL J. FERRERO |
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CARL J. FERRERO, I See You In My Head, 2011 |
Gallery: I AM NOT MONOGAMUS, I HEART POETRY from fall 05 to fall 06 i went to a shrink to help figure my way thru some anxiety i was experiencing. the two things from that shrinking that i continue to reflect upon are process resistance / outcome resistance and, from a long-winded rambling about my range of sexual interests, the amusing awareness of a parallel between that and my gallery’ exhibition program. |
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TAMARA ZAHAYKEVICH: Yo Money$!, 2011 |
Gallery: SELF REFERRAL NON OBJECTIVE Andrew Masullo, Ann Pibal, Cary Smith, Douglas Mellini, Nancy Shaver, Richard Rezac, Todd Chilton I overheard two artists in the gallery chatting about the deluge of abstraction that’s been around and one quipped to the other that abstraction flourishes in conservative times. Hard edge abstraction seemed the one to take a look at as it’s probably the most ubiquitous and the one that tends to get the most formal. I tend not to be so into formal and prefer when the formal is infiltrated by the personal. That is when abstraction sings to me. How the artist leaks the personal into the formal is the magic of what artists are. My simplest explanation of that process is the word “intentionality.” When I interviewed Andrew Masullo about his work for his November 2010 exhibition at Feature, he let me know that he didn't consider his paintings to be abstract - abstracted from something - but rather he referred to them as nonobjective. It is an interesting distinction to consider |
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TODD CHILTON: Ramps and Flags, 2011 |
Upfront: LISA BECK: Between Days |
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Between Days (detail), 2011 |
DAVID MORENO / JERRY PHILLIPS
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DAVID MORENO: Drip Displacement, 2011 | JERRY PHILLIPS: Balzac, 2010 |
Upfront: LISA BECK: Between Days |
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NANCY SHAVER: Three sisters, four beauties and a work-horse
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Incline, decline, outside WalMart, 2009 |
Upfront: JOSHUA HART |
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Squinch, 2011 |