In advance of his exhibition at Galerie Eva Presenhuber, Ketchup as a Vegetable, Blalock paid a visit to the Rail HQ for a conversation with Charlie Schultz that ranged from Blalock’s formative years, to his perspective-broadening experience of Moby Dick, to the way his new work (somewhat) describes the off-kilter quality of our contemporary moment.
The title of Liza Lou's exhibition, The Classification and Nomenclature of Clouds, draws upon an essay from 1802 by Luke Howard, a chemist and amateur meteorologist, wherein the author gives clouds the names we still use today.
In a room with fewer corners than one expects hang two new paintings by Marina Adams that mesmerize and bewilder. They are the same big size and the structures of their compositions are of a kind, but the surfaces tell different stories. When painters use form as a vehicle the tendency is to explore color relationships and textural variety.
I sit on a thin carpet laid on a wooden floor smoking and gazing up at colorful drawings of people and animals. There are no children; the figures are mature humans whose eyes and mouths are open conduits of pleasure. Perhaps the subjects are depictions of specific people, but they feel like expressions or metaphors of emotional conditions in a world boiled down to experiences of joy, laughter, and contentment.
Marcus Jahmals new show of paintings takes you into a world of spiritual healers and reverends who traffic in good luck bags for gamblers.
A work of art is what it is, obviously, but it is also what it could be. In other words, it is more than itself, but how much more? And through what means does an audience recognize the multifariousness of its being? This is the question that gives gravity to the astute essays of Constance M. Lewallen, Dore Bowen, and Ted Mann in the remarkable book Bruce Nauman: Spatial Encounters.