Review

September 23, 2011, 9:00am

Materializing Mementos: Kristen Miller at PDX Contemporary

Before experiencing Kristen Miller’s (NAP #67) exhibition Memento at PDX Contemporary in Portland, it is difficult to avoid thinking of Christopher Nolan’s indelible film of the same title. However, where Nolan’s treatise on memory employed tension and dramatic manipulation, Miller’s works small works on paper and textiles rely on delicate constructions, meditative techniques and minimal materials. Rarely straying from a spectrum of white and beige, Miller carefully sews tiny seed beads and paints comparably scaled dots of gouache into delicate, vulnerable forms suspended in space. - Erin Langner, Seattle Contributor

Listed under: Portland, Review

September 21, 2011, 6:21pm

Strange, New Islands by Bluhm and Griffith

For SOIL's latest show, Islands, Seattle artists Susanna Bluhm (NAP #53, 67, 91) and Cable Griffith are creating mystical terra firma. Strange, new islands, populated with references to Guston, early video games, and feminism, are all tied together with a unified of palette of blues, greens and grays. Where Griffith is tight and controlled, Bluhm is loose and expansive.

Listed under: Review, Seattle

September 19, 2011, 9:24am

Jim Torok: Walton at Lora Reynolds Gallery

I keep thinking of Caroline. I have never met this Caroline in person, nor have I visited Walton, the town nestled in the Western Catskill Mountains in upstate New York where she resides. And yet, when regarding her portrait — the middle image of seven same-sized, intimately scaled paintings in Jim Torok's Walton exhibition at Austin's Lora Reynolds Gallery — I feel as though I "could" know her. Like I've seen that faintly sun-streaked brown hair, those indescribably blue-grey eyes somewhere before.

Listed under: Review

September 17, 2011, 9:30am

The Post-Urban Cityscapes of Alex Lukas

Alex Lukas’ (NAP #92) works on paper are like historical mementos of an event that has not yet occurred. But the artist is careful not to attach a didactic or moralistic message to his work, disliking the term ‘post-Apocalyptic’ for its negative connotations. He says, “The whole idea of post-apocalyptic fiction in our common cultural dialogue focuses on a singular event or turning point, and I’m more interested in a time after that. It’s not so much a depiction of a particular event that changed things, but an ambiguous time [after that].

Listed under: Review, San Francisco

September 16, 2011, 3:18pm

Devin Troy Strother in the New York Times

There was a great article on artist Devin Troy Strothers (NAP #85) in the New York Times yesterday. Below is an excerpt and link to the full article. - NAP

Listed under: New York, Review

September 15, 2011, 9:30am

Strokes and Stencils: Maggie Michael at G Fine Art

Gestural abstraction perseveres, and in Washington, D.C. few artists have been as attuned to its provisional potential as Maggie Michael (NAP #94).

Listed under: DC, Review

September 13, 2011, 9:30am

Wild Beasts at Champion Contemporary

An oasis of kicked-up color blooms in the Hill Country, focused in the Wild Beasts exhibition at Champion Contemporary. While New York City's museums have, of late, treated "painterly" and "young" as extreme opposites — the recently closed video-imbued exhibitions by Cory Arcangel (Pro Tools at the Whitney) and Ryan Trecartin (Any Ever at PS1) come to mind — some of the city's talent prove otherwise.

Listed under: Austin, New York, Review, Sneak Peeks

September 09, 2011, 9:30am

The Atmosphere of Painted Spaces: Sarah Awad and Storm Tharp

Playful demystification inhabits the center of Los Angeles artist Sarah Awad’s Instruments of Culture at Seattle’s James Harris Gallery, a series of large, densely painted canvases depicting the statuary and halls of London’s Victoria and Albert Museum. Layered with oil to the point that marble sculptures become ghostlike and courtyards become abstracted spaces of color blocks and sketched lines, this series of work accentuates the absurdities of the object display that represents standard practice in museums.

Listed under: Review, Seattle

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