“Many artists in Denny Dimin Gallery’s program have been significantly influenced by the movement…I also wanted to explore how some artists have complicated the gender identities of craft and how artists of diverse backgrounds have brought other important histories into their work, enriching the dialogue around the ideas of P & D.”
I’m starting to find how to make my own language and keep my abstract language, feeling like it can engage with the history of weaving at the same time.
“Textiles are so deeply ingrained into our culture, history, homes, and bodies. So if I’m using quilting, or weaving, or hand-dyeing fabrics, or embroidery, people often share their memories or experiences with these materials and are excited to contemplate them within the structure of painting and within my abstract shapes.”
The social-media-inflected mood of the sculptures is both matched and expanded on in White’s paintings, whose faux-wood surfaces inevitably evoke boarded-up windows.
“The same way I want to draw the animals in by enticing them with meatballs, I also want to draw people in by enticing them with the wonder of watching a raccoon tea party.”
Exhibition catalogs for Amanda Valdez: Gratitude, an exhibition at Denny Dimin Gallery, New York City, April 2nd – May 15, 2021.
Soleimani started taking these photographs “to document these forays and efforts to explore whatever we were doing one week or another.”
We are honored that the Heckscher Museum of Art has acquired New Me (2021), an important new painting by Amanda Valdez. The acquisition comes on the heels of Valdez’s solo exhibition Piecework at the museum last year.
Inspired by the Japanese art of flower arrangement, ikebana, Shelton has carefully shaped various flora—sticks, moss, flowers, seeds—into striking compositions that she photographed against bright monochromatic backgrounds.
As we peer into these night visions through Sherwood’s lens, her other-worldly sets and confections invite us into another reality. Through her patient and humorous overtures, the animals reveal themselves. The creatures upend our notions of order as they wash their paws in teacups and walk on the table. They surprise us.
“The dining room didn’t have a lot of natural light—it’s kind of a gray box. So we said, let’s do neon,” Rockwell explains of the space…The artwork by Justine Hill pulls it all together.
Sheida Soleimani was commissioned by the New York Times to consider what fun looks like now.
“I make photographs for a world in crisis.”
Traditionally the decorative arts are concerned with the aesthetics of functional objects such as furniture, vessels, and textiles, which are often designed to be reproduced. “Close Parallel” initiates a bold and daring conversation about perceptions of form and function through domestic vignettes that feature unusual juxtapositions and mutating motifs.
Scott Anderson and Sarah Diver discuss the artist’s current exhibition “Biotech” .
Exhibition catalogs for Scott Anderson: Biotech are now available to order!
We are pleased to share that the Museum Voorlinden in Wassenaar, Netherlands has acquired Flat Green (2020) by Erin O’Keefe.
Soleimani’s use of bright colors and textured backgrounds draw the viewer into the conversation and ask us to spend time there. By suggesting rather than spelling out the violence she so often takes up, Soleimani maintains the privacy and agency of her subjects instead of probing into their pain.
“A Lovers’ Herbal” is Shelton’s first solo show since New Zealand legalized abortion (for up to twenty weeks’ gestation) in March 2020. This web presentation, dense with information, displays new photographs from “jane says,” a short video interview, ikebana book images, and texts that detail the links between colonialism and the suppression of herbal medical knowledge.
Best known for his unique approach to portraiture, Amir H. Fallah
has made a name for himself not by painting incredible likenesses of people but by revealing who they are through the objects that they possess.
Future Retrieval: Close Parallel opens at the Cincinnati Art Museum on February 26 and features contemporary reimaginings of works from the Museum’s extensive permanent collection.
“I’m interested in finding/discovering/choreographing moments of uncertainty that exist in the image, but not in the ‘real’ spatial condition,” says Erin O’Keefe, erstwhile architecture professor turned full-time photographer of vision-confounding images. “You are left with just the image and its wrongness—you can never backtrack to compare, although the question of how it was made is still present.”
The art duo’s “Close Parallel” exhibition launches this month at the Cincinnati Art Museum.
