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Every bit of color imperfection and grain on the CRT display is rendered precisely and on a magnified scale. The effect is a clash of worlds (at least on the formal level) in which archaic electronic media is worked onto elements of the Western European canon.
This series of more than 300 images, carefully selected from Pattersons archive by curator Gryphon Rue, covers a relatively brief but volatile period between 1985 and 1999, during which Patterson played an important role as documenter of the vibrant culture, crime, and transformation of the Lower East Side.
A square printout taped to the table that displays the exhibition literature reads, "BUT Would information obtained by psychic means be accurate enough to suit the Intel community's needs? Would the Intel community accept information which had been obtained through psychic means?" A black and white illustration of a stoplight accompanies these questions, as if meant to signal a moment of pause.
The mystery of alchemy is more appealing than its promise of truth.
Now online, this project inevitably represents a reduction of the original installation, but it is nonetheless a clever reframing that responds thoughtfully to its changed circumstances.
Drawings like those made by Jones, though accepted into the canon, remain at odds with what is generally thought of as art as a result of their sincerity and independence. It seems to me that this type of work, which arises out of the necessity of existential conditions, has the potential to collapse the often-arbitrary division between art and life.
The most recent exhibition by Los Angeles painter Daniel Gibson at Almine Rech summons various descriptors to mind: psychedelic, floral, surreal, Boschian. But the one that connects them all is autochthonous.
Birth Canal, Marguerite Humeau’s first solo museum exhibition in the United States, is presented in conjunction with Birth Canal Drawings at CLEARING’s upper east side location
Rivlin abandons the impulse to make unlikely or surprising combinations of things convey a message, or play a role, if even a small one. The sculptures rather act out on their own, bringing attention to a permanent wound they share, not broken, repurposed, or fixed, but indefinitely repairable.
What makes a story compelling without being told? This question lingered with me after seeing Sanya Kantarovskys exhibition On Them. His paintings, drawings, and prints have long shared an eerie likeness to novel illustration, and give the impression of Russian novelsthough only vaguely.
This exhibition at 15 Orient is the first of Serbian-Macedonian painter Ljiljana Blazevskas in the United States. The context that makes Blazevskas work approachable in the US is obscured by the extremely personal, sequestered nature it has all of its own, that makes each painting, like a private dream or memory, untranslatable for the viewer.
David Byrd died in 2013 at the age of 87 in Oxford, New York. Since then his paintings have gradually received attention, resulting in a number of exhibitions in recent years