#new york art shows

[longlistshort]

“After Storm in the Fen”, 2024, Oil on canvas

"Squall Lines", 2024, Oil on canvas

For Rachel MacFarlane’s exhibition, Coming Events Cast Their Light Before Them, at Hollis Taggart, she has painted several dreamlike landscapes based on her travels to places impacted by climate events. She first creates maquettes from her observations (three are on view) and then uses them as the basis for the paintings.

From the press release-

At its core, MacFarlane’s work is about lamenting the loss of specific landscapes through creating and depicting new worlds where humans are no longer the protagonists. MacFarlane spends much of her time immersed in unique geographical environments – often ones that have been heavily impacted by climate change-related weather events. While working on her newest body of work, MacFarlane spent extensive time in places ranging from the Adirondacks to Wolfe’s Neck Woods State Park in Maine, and from Prince Edward Island right after it had been hit by Hurricane Fiona to Clearwater, Manitoba during unprecedented flooding. As has always been her practice, MacFarlane does not document while she travels, instead preferring to absorb the atmosphere of a place and spend time really immersed in its sights and sounds. Upon returning to her studio, MacFarlane transforms her observations into three-dimensional maquettes created out of paper, paint, and plastic.

As MacFarlane describes it, a lot of play takes place at her collage table, as she manufactures new spaces based loosely on the spirit of specific ones, drawing on a myriad of influences from theatre and architecture to the world-building of science fiction literature and movies. The paintings in this show were specifically influenced by MacFarlane’s research into the Augsburg Book of Miracles, a manuscript depicting celestial and weather phenomena made in Augsburg, Germany in the sixteenth century. MacFarlane was moved and inspired by how these anonymous illustrators centuries before her were also dedicated to tracking warning signs in the landscape and to recording them in creative ways.

While she describes the model-building as a distancing method, it is also one that creates intimacy, as the scale shift to a shallow box model leads to the creation of a miniature world we can literally hold in our hands versus the enormity of the environment. After MacFarlane distills the memory of a place into an object, she further transforms it into its final form on the canvas, using bold colors and thick brushwork that highlights the painterliness and artifice of her landscapes. As art critic Barry Schwabsky notes in the catalogue essay, these multiple translations and transformations allow MacFarlane to “operate with and against flatness and depth, illusion and physicality, naturalness and theatricality… Her work gives pleasure but also warns that with all these unavoidable antitheses, the choice of one pole or the other would be hopeless, and we have to learn to live with the tensions between them.”

This exhibition closes 5/25/24.

[91939art]

That's for older people, who remember Evan Daniels joining Morlocks

🌟🌟patreon | commission us🌟

We could go at length about how much we love RoLo, Romy, Jotts, and Cheriks, like nghhhhhh. There are more obscure ships, like Riptide x Azazel and there's a twist there, too...

[webdiggerxxx]

꧁★꧂

[sofiasfanartcollection]

Day 24 of TMayNT: Favorite turtle + villain dynamic

I chose Hypno-potamus from Rise of the TMNT for this prompt :]

I love his character development and how he seems to grow a soft spot for the turtles.

These sketches are redrawn from screenshots except for the doodles of rabbits, doves etc :]

(Note: I chose to draw Hypno in a top hat rather than a turban because one of the writers who worked on the show said that Hypno was not wearing the turban for religious reasons. It was part of his costume. Also, Hypno’s canon design, especially as a human, has similarities to harmful stereotypes of Romani people—so a few of Hypno’s fans on here including me like to depict Hypno with a top hat instead.)

the TMayNT challenge is hosted by @mikasleaf see more at @tmaynt

[newyorkthegoldenage]

Lacking space, Joseph Bruno, Jr., displays his paintings on the side of a newsstand during the 34th semi-annual Washington Square Art Exhibit, September 14, 1948. Instead of a glass of fine wine, Bruno has a bottle of soda pop at this particular art show, which is at the corner of Sullivan St. and West Third St. in Greenwich Village.

Photo: Robert Kradin for the AP

[rearviewghost]

one thing that really fascinates me about alex is his devotion to art – and more specifically, how he chooses to get some inspiration from scientific works of what he aims to implement in his art. every time one gets to examine some of his lyrics, or even how he explains these lyrics in an interview, they can be greeted by some bits of actual scientific information. an example is how he named his taquería on the moon with the term “information-action ratio”, coined by the critic neil postman, and referenced it in the song four out of five, something that might also indicate an interesting articulation with postman's concept. the line “cute new places keep on popping up”, for example, can express his well-known sardonic discontent regarding the flood of information being generated and transmitted over and over and, as much as it seems visually appealing and does give the idea of benefiting from advanced technologies, it doesn't really add anything substantial to the receiver's critical thinking – and worse, it distances the information receiver from the sender in a communication channel, according to postman.

what i'm saying with this interpretation is, it's known that alex is enamoured with the idea of gathering a bunch of references and condensing them into a mixture of metaphors in his writing, but it's so thrilling how, at times, we can find some bits of science inside of it – and it's even more exciting, just like playing a puzzle game, to find these references and analyse them by doing a similar research to what he did to create his works.

[vimbry]

prompting what. sorry prompting what now. what did he say

[ackee]

nothing like watching a good animated movie that make you go damn! maybe this art shit is worth it!

[eastvillagetripster]

Past meets Present

3D printed pre-Columbian Maya wind instrument, part of artist Clarissa Tossin's work at the Whitney Biennial, Whiney Museum of Art, 99 Gansevoort Street, Meatpacking District, New York City.

[trenchcoat-full-of-snails]

HELLO IVE BEEN AFK FOR DAYS BUT I GOT TICKETS TO SEE WILL WOOD IN DECEMBER HOLY FUCK I AM GOING TO CRY

[hyperallergic]

In Oscar yi Hou’s paintings, the American flag’s stars and stripes are ribboned, scattered, and reconfigured amongst East Asian artistic symbols in a semiotic constellation around Asian-American sitters, many of whom are queer.

His gutsy canvases render him and his loved ones with their gazes fixed firmly on the viewer, sometimes assuming historically White roles to confront the foundations of American “belonging,” other times calling back to the legacies of East Asian art.

Read more about his work in our New York art guide for August.

[longlistshort]

Jack Shainman Gallery is currently showing two bodies of work by Leslie Wayne for her exhibition This Land.  One half of the show is paintings based on photos she took of landscapes from an airplane window while traveling from New York to the Seattle. Abstract work influenced by aspects of the natural world makes up the other half.

In a recent interview with designboom, Wayne was asked how perception and memory influenced her process for this work-

Perception is just an interpretation really, of what one sees, and while the paintings in ‘This Land is Your Land’ series were made directly from the photographs I took on a flight to the Pacific Northwest, they are infused with the feelings and memories I hold dear of my childhood. I’ve lived in New York since 1982, but I grew up in California and I still have a very strong attachment to the West Coast and to the geology and geography of the West. Even the abstract work in which I am manipulating thick layers of paint, I am drawing on those sensations I remember having of being in nature where the tectonic and geologic forces are right there for one to see and feel — millions of years of layered strata, of compression and subduction, of gravity and erosion, and certainly of the shifting plates that cause earthquakes.

More on the show from the press release-

Jack Shainman Gallery is pleased to present This Land, an exhibition of two kindred bodies of work by Leslie Wayne that express the nature of the American West through perception and memory. In each piece, Wayne considers different ways in which we interpret and imagine geological space, exploring landscape both as a vertical, abstracted force and a horizontal, figurative expanse. Named in homage to Woody Guthrie’s heartland ballad “This Land is Your Land,” Wayne offers a contemporary vision of Manifest Destiny—imbuing her symbolic, and experienced, westward voyages with topographies that are sensorial, memorial, and tectonic.

In a series of dimensional abstract paintings on large, metronome-like planks, Wayne uses a dramatic and vibrant palette to mold paint so that it cascades down the wood panel in a multitude of ways. Applying the paint in heavy layers, she encourages the influence of gravity and refines her materials to their most basic form, color, and behavior. Adopting, rather than controlling the rhythm of nature, these compositions are fluid to the viewer’s myriad associations with this image of momentum—be it reminiscent of the rush of an avalanche, the swell of hot lava, or the pileup of driftwood on a seashore.

In her series entitled This Land is Your Land, she creates compact, observational paintings based on snapshots she took from her seat as she flew west over the Rocky Mountains all the way to the Cascade Range in Washington State in 2021. Creating a precise mise-en-scène by placing each painting in a frame that resembles the Boeing 737 window she peered out from, Wayne transports her viewers into a precise sensation: beholding our nation as the land settles into one continuous, harmonious expanse—stripped down to simple shapes and shades. Her portholes offer a view into a terrain of awe, reminiscence, and omniscience, a collective vision of a region fraught with, and fractured by, territories and borders.

Extending beyond the format of the airplane-window frame, Wayne has also created two unique works inspired by the same journey. The first is a twenty-two-foot-long painted scroll entitled From the Rockies to the Cascades, in addition to High Dive, a large-format painting in which she stretches her canvas onto a frame of coiled springs—materials that simulate a bird’s-eye view of the landscape as if seen by a skydiver descending towards a trampoline. The paintings from this series are accompanied by a vitrine displaying Wayne’s special limited edition This Land, a handmade accordion book that illustrates the aerial photographs from her voyage, alongside Taylor Brorby’s poem “The Ages Have Been at Work” and the lyrics to Woody Guthrie’s “This Land is Your Land.”

In German, heimat is a term used to describe not only the characteristics of a place, but the complex and interdependent physical, social, and mental associations with a homeland. For Wayne, this sentiment stretches, folds, and bends from the west coast, her childhood home, to the east coast, where she has resided since 1982. Treading across this land, psychic routes unfold, and Wayne savors “That path [which] is never straight and always various, each time opening new ways of seeing and thinking about the world we occupy, the ways we inhabit nature, and the legacies we leave behind.”

[laflamejpeg]

Maison Margiela Early Website Layout.

[worshippdsun]

Already obsessed w/ kurt russell in the thing, I made the mistake of watching Escape from New York and Escape from L.A. and now I am thoroughly unwell about Snake Plissken

[hydenine]

I really loved the movie Robot Dreams and I've seen it twice now, but there is something extremely jarring about the number of shots where the twin towers are prominently featured in the background, especially since the film seems to have nothing to do with 9/11 sjdjjdjf

[newyorkthegoldenage]

William Steig drew this handbill to promote Washington Square's semi-annual art exhibition, 1933.

Photo: Swann Galleries