Many of the artists in Fringe explore ideas around gender stereotypes through the re-appropriation of traditionally “feminine craft” techniques, while many use the idea of camp as a conceptual framework.
This very connection between the past and present prompted the Denny Dimin Gallery in Manhattan to organize the ongoing group exhibition, “Fringe.”
A more intimate and entirely irresistible group show—cleverly titled “Fringe”—is on view at the Denny Dimin gallery through Aug. 20.
Amir H. Fallah commissioned by Cerritos College for three large scale murals on campus.
“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.
artport is the Whitney Museum’s portal to Internet art and an online gallery space for commissions of net art and new media art. Originally launched in 2001, artport provides access to original art works commissioned specifically for artport by the Whitney.
“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.
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