Come on down for COLLORGY!
Art, Music, and Fun
Happy June and hope to see you all there! 🙂
In DOUBLE STRANDED at Phantom Gallery, curated by Frankie Velez, Raquel Echanique and Teddi Rogers explore the nature of portraiture, defined as the graphic and detailed description of the physical or psychological likeness of a real or imaginary individual, in ways that seem to stand on both sides of the looking glass simultaneously.
Raquel Echanique gifts the viewer with images of characters that pierce, seduce, search, and shield with gazes as penetrating as they are narcissistic. The candy coated gestural marks and abstract shapes that comprise these characters speak to the ease and energy of graffiti and street art as much as the vivisected lusciousness of Jenny Saville’s Reverse.
Raquel Echanique, Kristen Fristed, 2012. Oil and spray paint on canvas, 24 x 31 inches
Raquel Echanique, Ariel Tring Clothes On, 2012. Oil and spray paint on canvas, 36 x 50 inches
Raquel Echanique, Boombox Massage Table, 2011. Oil and spray paint on canvas, 22 x 16 inches
Teddi Rogers tackles the ‘graphic and detailed description of physical or psychological likeness’ with a subtlety that feels very internal, almost broodingly tongue in cheek. The sharp disparity between density and emptiness in her compositions gives a bipolar quality to the sly silhouettes, which leave an impression much like the ghost image that appears with your breath on glass from some time or some one before.
Teddi Rogers, Prince, 2012. Ink on paper, 10 x 14 inches
Teddi Rogers, My Sister Without Me, 2012. Watercolor on paper, 18 x 24 inches
Teddi Rogers, The Hanged Man, 2012. Ink on paper, 10 x 14 inches
DOUBLE STRANDED – on view Monday – Friday, by appointment only, through Sunday, September 2nd, 2012 – at Phantom, 48 West 25th Street, 10th fl, NYC 10010 – between 5th and 6th avenue. Trains – F & M 6th Ave Line to 23rd St or N & R Lexington Ave Line to 23rd St
SUMMER SHOW at Denise Bibro Fine Art presents an array of interesting voices, but two of the strongest stood out to me as coming from Dusty Boynton and Christopher Reiger. Both have harnessed something whimsical and powerful from their earliest experiences of the world, and we are the lucky who get to glimpse into that private space.
Dusty Boynton nods to the moment of realizing the hand you are holding belongs to a stranger with hybrid characters that frolic and linger, flail and posture, tempering the fancy of childhood with the acumen assumed with time.
Dusty Boynton, Small Crowd, 2011/2012. Structured relief, 32 x 33 inches
Dusty Boynton, Rosemary’s Watch, 2011/2012. Structured relief, 50 x 19 inches
Dusty Boynton, Accumulated Loneliness, 2011. Oil and graphite on linen, 66 x 72 inches
Christopher Reiger reactivates that ingenious childhood ability to imagine reality as it unfolds before us with symbol-rich imagery, that is at once grounded in science and history while tethered to mythology and mysticism.
Christopher Reiger, Living, Moving, In The Space Between, 2009. Gouache, watercolor and marker on Arches paper, 15 x 14 7/8 inches
Christopher Reiger, Cost Benefit Analysis, 2008. Pen and sumi ink, gouache, watercolor and marker on Arches paper, 12 x 12 inches
Christopher Reiger, Everywhere Looks The Same #1, 2008. Watercolor, gouache, pen and sumi ink on Arches paper, 12 3/4 x 10 inches
Christopher Reiger – charitable sales model
Dusty Boynton at Denise Bibro Fine Arts
DENISE BIBRO FINE ARTS
SUMMER SHOW – July 10 through August 25, 2012 – at Denise Bibro Fine Art, 529 West 20th Street 4W, NYC 10011
Here’s a fantastic video of be nice art friends very own Greg Minah. A beautiful peak into the studio and into the methodic and rythmic process of his paintings. Had the amazing privilege to have collaborated with Greg on a large scale painting when we were together as undergrads at University of Maryland College Park… it might be time for a reunion : )
A short video highlighting the unique painting method of Baltimore-based artist, Greg Minah.
Greg Minah creates his abstract paintings by pouring thinned out acrylic paint onto the canvas and then tilting and turning the stretcher to precisely control the flow of the medium. Often, a layer is partially removed with pressurized water before it has a chance to completely cure, leaving only the outline of the poured paint and revealing the multi-layered construction of the work. This method of working might best be described as a collaboration between artist and material. The result is a lyrical moment suspended in time but the significance remains fluid as it relies entirely on the encounter with the viewer.
For more information please visit gregminah.com
At the opening of George Hugnet’s The Love Life of the Spumifers at UBU Gallery last night, an older gentleman made a comment to my friend and I that ‘nothing changes – beauty stays the same from age to age.’ While that comment has provided fodder to many fiery debates, it cuts to the heart of what Hugnet offers us: Damsels, Demons, and Sex. These images activate our intrinsic fascination with beauty and the grotesque, and more specifically, our desire to see the fusion of the two.
November 16, 2011 – January 28, 2012
UBU GALLERY 416 EAST 59 STREET NEW YORK NY 10022 T:212 753 4444 F:212 753 4470 E:INFO@UBUGALLERY.COM
All images © ADAGP & Myrtille Hugnet