After Vasari

writings on artists and artworks and where they exist

Tag: New York City

Sometimes Seen Dreams

by Paul D'Agostino

Sometimes Seen Dreams: New Paintings by Dana James

In her most recent suite of mixed media paintings, Dana James employs alluringly deliquescent strata of oils, inks, dyes, encaustic and pigments in the creation of landscapes, seascapes, skyscapes and spacescapes that whisk you away into the turbid beyonds of ambiguously horizoned, chromatically enchanted elsewheres.

James’s lush palette of peachy pinks and deep blues, emerald greens and purpled greys, earthy oranges and icy teals, smoky blacks and creamy, pearlescent, ivory-scale whites calls to mind the teasing, fleeting, atmospherically supple theatrics of celestial candescence of certain seasons or at certain latitudes, and her nimble, almost imperceptible handling seems nearly to convey that these works were never manually made, but rather conjured into existence. We climb and we sail as we navigate these realms, and we swim and we float, we fly and we soar, we dash and we drift, and only occasionally and just barely do we alight upon some solid surface — perhaps an island or sandbar, a hillock or glacier — or encounter the circumstantially candid linearities of tenuous, fragile lines. If ever we’re grounded, the ground beneath us seems curiously aloft. If these spheres have gravity, they haven’t much. In James’s kingdom of elegantly fantasized ethers, the lands and skies themselves are the timeless castles.

These fresh and assertive paintings are James’s strongest work to date, and they are arresting and transporting all at once. If colors dream, this might be what they dream. Perhaps James sometimes sees these dreams.

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This essay was composed for the exhibition catalogue accompanying Dana James: Sometimes Seen Dreams, the artist’s solo show at The Lodge Gallery, on view from 18 October to 12 November, 2017. More information about the show can be found here. Images courtesy the artist and The Lodge Gallery.

Paul D’Agostino, Ph.D. is an artist, writer, translator, curator and professor living in Bushwick, Brooklyn. More information about him is available here, and you can find him as @postuccio on Instagram and Twitter.

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Themselves Productive

by Paul D'Agostino


Themselves Productive: New Paintings by Liv Mette Larsen

The more you become acquainted with the foundational forms and material underpinnings of Liv Mette Larsen’s works, the more you come to realize the generally uninterrupted extent to which they are all procedurally interlinked, conceptually interconnected, holistically and harmoniously cross-informed. The nature of this realization is perhaps ultimately the most abstract product of Larsen’s hand-pedaled, factory-like process that is itself generative, manually fabricational, iteratively productive.

One should not mistake any of the above as a suggestion that this now Brooklyn-based painter—Norwegian-born, then eventually NYC-bound by way of a period of teaching and artistic activity in Germany—presents her viewers with compositions full of visual convolution, nor that her pictorial processes and products register as even remotely mechanical. On the contrary, Larsen’s essentially representationally-driven forms are dimensionally simplified distillations of at times complex, at times relatively basic structures that stand as variably recognizable markers of place—localized neighborhood skylines, for instance, or readily distinguishable factories, as is the case in her series Concrete Factory / Slemmestad Fabrikker. Working from photographs or observation, Larsen breaks up, breaks down and flattens her chosen structures’ aspects and facets into a series of characteristic shapes, then carries them into so many lightly, almost happily handled compositional arrangements that serve as her platform to explore the chromatic richness and occasional quirks of her long-standing materials of choice—egg tempera on linen treated with rabbit skin glue.

Larsen’s largely earth-tone colors run a full yet quiescent range. She’s not shy at all about employing purples, yellows, oranges and greens to depict objects that might actually be just grey, in other words, but not even the brightest reaches of her palette shout or cry out. Rather, her colors murmur and hum like the low din of machinery, or like a calm flow of traffic along an urban block, maintaining nonetheless all the chromatic lushness and toothsome textures of the powdered pigments and egg mediums she uses to mix them into life. Backgrounds are sometimes the areas where Larsen allows colors to visually intermingle and bleed through one another, especially in her larger works. Consequently, her montages of middle- and foregrounded forms, often filled in with more uniformly viscous admixtures, begin to come across as depth-creating, footprint-stamping, colorful shadow-puppet-like characters—a troupe of implicitly post-industrial, meta-structural actors, let’s say, playing stop-motion roles of form-holders, chroma-bearers and spatial dwellers on some outdoor stage on a forsaken, extra-urban stretch of land, on a fall or spring afternoon in which mild temperatures and overcast skies cooperate to make the setting that much simpler to enthuse.

In Larsen’s creative landscape, some of the forms, colors, compositions and ‘characters’ she develops will then reemerge in kindred bodies of work. Shapes appear in different proportions in other paintings and collages; collages take color cues from paintings and watercolors; watercolors and collages inform compositional and chromatic choices in paintings. And of course, Larsen keeps an ever-sharp eye on how subtle shifts or surprises in one productive mode might lead her to insights in another. All this from regarding very closely and formally dismantling a building or two, then turning constituent parts into inputs for serialized processes made manifest in interconnectedly generative ways. A landmark fabrikk in Norway, as it were, becomes a manufacturer and remanufacturer of itself. And Larsen’s creative factory just keeps on humming. The characters in her plays keep doing their happy thing.

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This essay was composed for Liv Mette Larsen’s exhibition catalogue for Concrete Factory / Slemmestad Fabrikker, the artist’s solo show at Trafo Kunsthall in Trafo, Norway. Her show is on view from 6 May to 17 June, 2017. More information about the exhibit and Trafo Kunsthall can be found here. More information about Liv Mette Larsen is on her website, here. Installation image courtesy the artist and Trafo Kunsthall.

Paul D’Agostino, Ph.D. is an artist, writer, translator, curator and professor living in Bushwick, Brooklyn. More information about him is available here, and you can find him as @postuccio on Instagram and Twitter.

Evolutionary States

by Paul D'Agostino

 

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Evolutionary States: Ruth Hardinger

Ever since following her learner’s instincts, anthropological curiosities, researcher’s mind, ecologist’s sensibilities, and artist’s hands and eyes along a creative path leading her to work in landscape art in the 1970s, Ruth Hardinger has passed the ensuing decades seeking out keener, more elementally informed, more environmentally conscious, and more responsibly, relevantly collaborative modes of crafting her consistently arresting sculptures, paintings, drawings, tapestries, site-specific installations and exterior interventions. She ranks among the pioneers of a certain earthy, earthily timeless aesthetic—a middleground of sorts between the quietude of paintings by Agnes Martin, for instance, and the hulking monumentality of sculptures by Richard Serra—that renders some of her works in abstraction no more abstract than a mountain, say, and that has inspired so many artists following in her wake. Working in an astounding breadth of media, yet never adding to her material docket without conceptual reason for doing so, Hardinger is also a boundlessly prolific artist, and an apparently tireless one at that.

Close inspection of Hardinger’s techniques and materials evidence that she employs the former to somehow compel the latter into states that might be described as evolutionary. She uses graphite in all manner of drawings and sometimes sculptures not merely for its technical utility, but also for its materially intriguing virtues as a kind of essence of carbon. She uses concrete in her generally minimalist sculptures—which are at times large scale and subtly anthropomorphic, and often wont to bow in deference to the ancients while referencing a kind of future antiquity—not merely because of its spartan look, grave heft and functional practicalities that nod to infrastructure as well, but also because its constituent elements make it materially kindred to the bones and shells of animals of the land, the sea and the air. She employs select fabrics for their undying anthropological pertinence and rugged tactilities; she uses certain finishes for the ways in which they impress deeper temporal stamps into the grains and veins of surfaces; she incorporates cardboards and other pulp-based materials for their fibrous strengths, familiarity and recyclability; and she maintains subdued palettes so as to prevent chromatic ornament from mounting experiential barriers between viewers and the hearty thingness of her creations. For certain bodies of work, Hardinger has even collaborated with traditional artisans in distant villages to imbue her artworks with the broadened knowledge of so many past generations, and to readily place her activities as a maker of fine art within a vaster chronology of object making in general.

Hardinger’s works are anachronistic, in a sense, and sympathetically rustic, yet always presented with considered pristineness and rigor. To regard them is to ponder the vastness of time, the relative eternity of certain materials, and the mysterious confluence of elements and circumstances that place us here, where we are, wherever we are. In light of the urgency of environmental issues in today’s sociopolitical discourses, now is an auspicious and important time for this inspiring, ecologically enlightened artist to receive the brighter spotlight she richly deserves.
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This essay was composed for David & Schweitzer Contemporary as an accompaniment to the gallery’s solo presentation of works by Ruth Hardinger at Volta Art Fair during New York Armory Week, from 1 to 5 March 2017. The fair is held at Pier 90, and David & Schweitzer’s showcase is located at booth C23. More information about Volta Art Fair is here.

Paul D’Agostino, Ph.D. is an artist, writer, translator, curator and professor living in Bushwick, Brooklyn. More information about him is available here, and you can find him as @postuccio on Instagram and Twitter.

Take Us Lying Down

by Paul D'Agostino

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Take Us Lying Down: Lisa Levy & Paul Gagner at Spring/Break Art Show

With just the right mix of awkward humor, self-effacement and intelligently irreverent seriousness to evade didacticism while making observations that are both piquant and relevant, Lisa Levy and Paul Gagner poke fun at and gainfully critique artists, the art world, art history, and people in general all at once—implicating all the while, perhaps even principally so, themselves.

Lisa Levy’s performative therapy sessions and related engagements with her audience are funny, to be sure, and at times pointedly cynical. But these same interventions are also sincere attempts at coming to an understanding of how people think, and of why they do the things they do—creative people, primarily though not exclusively. Through actions including a variety of performance pieces as well as her radio show, “Dr. Lisa Gives a Shit,” Levy gets into people’s minds and probes their pasts, not invasively but also not really pulling any punches. Her casually non-clinical approach—she’s not really a doctor, after all—truly caring disposition and well-honed humor are utterly disarming, indeed even charming, encouraging her interlocutors to open up in surprisingly candid ways. At the same time, all this ‘therapy,’ as Levy readily shares with her subjects, is also very much about her—about her own insecurities and shortcomings, about her own creative and social anxieties. In a most literal way, Dr. Lisa’s therapy sessions are also a therapy of the self.

Enter Paul Gagner, a painter whose past few years of output have resulted in scores of similarly amusing, self-reflective, art-refractive works of quasi-clinical criticality. Pictorial analogs to Levy’s practices with performative therapy, Gagner’s abstractly figurative paintings question the viewer’s and artist’s agency and mental stability all at once, yet in a way in which the humor is so blatant as to even factor into the painter’s own self-portrayal in many compositions, as well as in his rather intentionally chunky, at times almost clunky material handling. Most exemplary of these tendencies are Gagner’s paintings featuring ‘books’ that have been ‘written’ by a certain Dr. Howard Moseley, M.D., with disquietingly hilarious titles such as A Beginner’s Guide to Home Lobotomy, Coping With Imaginary Foes, and Do It Yourself Coffins. The absurdity of such titles, and of the goofball ‘book jackets’ Gagner creates for the volumes, make them invariable crowd-pleasers. At the same time, there’s a profound honesty to the works as well, as they must also be read as only subtly exaggerated expressions of Gagner’s own insecurities regarding his capacities as a painter and interpersonal savoir-faire.

Take Us Lying Down will bring the materially divergent yet conceptually linked practices of these two artists into spatial and interactive confluence. The setting will be a therapist’s office of sorts—complete with an obligatory chaise longue—where Levy will offer her ‘expert’ counsel to any and all passers-through who are willing to lie down for a few minutes and open up. Prior to engaging in such ‘sessions’ with Levy, however, visitors will have to navigate a bookstore-like ‘waiting room’ featuring a selection of paintings and faux Moseley volumes crafted by Gagner. Gagner himself will be there too, a kind of strange but friendly receptionist who happens to be surrounded by canvas-bound depictions of himself.

Visitors to Take Us Lying Down will be amused upon entry, then probed in the rear. And they’ll receive bespoke snacks and silly tchotchkes for all their ‘troubles.’ On levels literal and euphemistic alike, this fully realized apparatus of somewhat dark, generally humorous, in part charlatanic, overall sincerely empathic ‘therapeutic’ interactions quite fittingly reflects ‘black mirrored’ notions of self. Care to schedule an appointment?

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Lisa Levy is a conceptual artist, comedic performer, painter and self-proclaimed psychotherapist with a professional background in advertising. Her visual art has been widely exhibited at many venues, including The New Museum, The Bronx Museum, Pulse Art Fair, The Brooklyn Academy of Music, and Christopher Stout Gallery. Levy also performs live. Her most popular character is Dr. Lisa, S.P., who psychoanalyzes people on screen, stage and on the street, and whose ‘patients’ have even included celebrities such as Joe Gordon-Levitt and Amy Schumer. She currently hosts a weekly radio show called “Dr. Lisa Gives a Shit,” in which she conducts funny, emotionally revealing ‘psychotherapy sessions’ with creative guests.

Paul Gagner received his BFA from the SVA in 2005, and his MFA from Brooklyn College in 2009. He has exhibited throughout the US, including at Halsey McKay, Driscoll Babcock, Lesley Heller Workspace, The Maryland Institute College of Art, the Housatonic Museum of Art, and The Richmond Center for Visual Arts. Gagner has been featured in New American Paintings, Baltimore City Paper, Art 21 and Hyperallergic. The Museum of Modern Art holds a series of Gagner’s collages in its print collection. Paul Gagner lives and works in Brooklyn, NY.
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This essay was composed as a curatorial statement for Take Us Lying Down, featuring Lisa Levy and Paul Gagner, on view at Spring/Break Art Show during New York Armory Week, from 28 February to 6 March 2017. Spring/Break Art Show’s location this year is 4 Times Square, 22nd and 23rd floors. Take Us Lying Down is situated in a duplex office setting on the 22nd floor, Suite 2246. More information about Spring/Break Art Show is here.

Paul D’Agostino, Ph.D. is an artist, writer, translator, curator and professor living in Bushwick, Brooklyn. More information about him is available here, and you can find him as @postuccio on Instagram and Twitter.

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