Saturday, October 19, 2013
Steve Roden "ragpicker" @ Susanne Vielmetter
Detail from "symbol/cymbal," 2013
Four drawings (framed), four LP hand drawn labels,
four vinyl records, four turntables, four amps,
four shelves, eight speakers
29 x 138 x 17 inches
everything crushed underfoot, 2013
oil on linen
60 x 36 inches
thirteenth view, 2013
oil on linen
14 x 11 inches
fourth view, 2013
oil on linen
14 x 11 inches
eleventh view, 2013
oil on linen
14 x 11 inches
first view, 2013
oil on linen
14 x 11 inches
a window, a cloud, a tree (mirage no. 3), 2013
plaster, cloth, and cardboard
9 x 18 x 20 inches
which is still. visible. (the orange is mine), 2013
oil on canvas
48 x 36 inches
black extendable (fragments and letters), 2013
oil on linen
60 x 84 inches
Note: The following is mostly a stream of thoughts in the viewing of this show (one in which I could not decide where to start).
Historical convention assumes that abstraction does not address the body (a body) but landscape, which is really just a fragment of a larger body, a celestial one. Distorted figures. Positive and negative space conflation. Symmetry and Mouse Trap. Uterine. Lines hold things together more than they define shape and space, though, of course, they do that too. Dimensional line as structure. Spinning head + speaker ears= MICKEY MOUSE. rodent. Roden. Rodin. YODA. Truss. Bridge. Joseph Stella. Mostly oriented toward the vertical (upright being) with an occasional horizontal (again the portrait or the landscape). Incessant (insistent?) layers. Web. Matrix. Subterfuge. Sublimation. Emergence. Ice... Melting...
Maha Saab @ ltd
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| Horse in the Dark, 2013 acrylic, oil felt on wood panel 60 x 48 x 2 inches |
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| Untitled (steel, silk, sweat shirt), 2013 Marker, silk, steel, Dimensions Variable |
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| Highlights, 2013, Enamel, oil, fiberglass on steel 72 x 19 inches |
Maureen Gallace @ Overduin and Kite
Landscape. John Marin. An extremely, modestly-scaled picture that suggests a greater whole, the vast. Friedrich without the human figure. Here, a domestic building void of activity stares blankly toward and from the horizon, partial to the sky in amount. Each door/window is the frame within the frame which alerts the viewer to the game, the game I have chosen to play by photographing each door and window detail in order to not only enjoy the intimacy of carefully appointed brushstrokes, but also to think about histories since Marin. Rothko springs to mind next (but only in structure); this is a tough one, because landscape painting of this kind tends to find its way to shops and stands in beachside communities. By context (contemporary, urban art gallery) and installation strategies (the paintings themselves spread spare throughout the viewing space like tiny little portals), I can also read Gallace's work as multiple layers of the ongoing questions surrounding flatness/depth, doors and windows. The painter's obsession with light (broad strokes and smaller dapples) continues.
Saturday, September 14, 2013
Steve Roden ragpicker @ CRG
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| "aura rests (an old resonance)." 2013 acrylic and oil on canvas 48 x 36 inches |
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| "out of its wooden brain suddenly," 2013 acrylic and oil on canvas 60 x 48 inches |
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| "the sibyl's grotto," 2013 acrylic and oil on canvas 60 x 36 inches |
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| "eighth view," 2013 oil on linen 14 x 11 inches |
Barry Le Va "Early Installations" @ Sonnabend
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| "Double Doorways," 1968, chalk dust, approx. 17x22 feet |
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| Set I A Placed, B Placed Set II A Dropped, B Dropped Set III A Placed, B Dropped Set IV placed, 1968 Felt, glass aluminum bars, and stainless steel ball bearings 96 x 96 inches |
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| "Disentangle," 1968, grey felt, approx. 30 x 18 feet |
Grazia Toderi @ Sonnabend
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| "Atlante Rosso," 2012, still from video projection loop, |
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| "Mirabile Urbis," 2012, still from double video projection loop |
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