Contemporaneous Extension


Calm before the storm

Before I switch into Armory Show mode, here are the top four stragglers that are a necessary viewing experience prior to.

O. Winston Link: The Last Steam Railroad in America at Robert Mann: Link’s series from the 1950’s records the surrounding area and stamina of the last steam railroad in Virginia. He took five years to document the scene on the cusp of diesel fuel. Utilizing artificial lighting, he stages the scene and finds a cinematic glow that almost derails it as historical content. The smoke and the stark glow of spotlights or neighborhood streetlamps contribute a particular eeriness to his black and white photographs. They appear old-timey in their characterization of the locomotive. It reminds me of my obscenely loud, hissing radiator that tends to be a large elephant in the room but undeniably necessary. Open through March 26.

 

O. Winston Link, 'NW1108 Steven Breeden shoos cows, No. 2 on bridge 425, Arcadia, VA, 1956.' 16 x 20 inches, silver print

O. Winston Link, 'NW1108 Steven Breeden shoos cows, No. 2 on bridge 425, Arcadia, VA, 1956.' 16 x 20 inches, silver print

O. Winston Link, 'NW1633 The Pelican Arrives in Rural Retreat, VA, December 27, 1957.'  16 x 20 inches, silver print

O. Winston Link, 'NW1633 The Pelican Arrives in Rural Retreat, VA, December 27, 1957.' 16 x 20 inches, silver print

O. Winston Link, 'NW1963 Swimming Pool by the Tracks, Welch, WV, 1958.'  16 x 20 inches, silver print

O. Winston Link, 'NW1963 Swimming Pool by the Tracks, Welch, WV, 1958.' 16 x 20 inches, silver print

 

 

 

 

reGeneration2: Tomorrow’s Photographer’s Today @ Aperture Gallery: This is the second installment of a large group show of emerging photographers at Aperture. Expanding from the first edition in 2005, which featured 50 artists, the show will highlight 80 photographers from 120 art schools around the world.  The website doesn’t provide the names of those involved and manages to keep the website’s slideshow to a minimum. Even more the reason to trek over there and check it out. Closes March 17.

 

Jennifer Osborne from her TOUGH BLOOD series

Jennifer Osborne from her TOUGH BLOOD series

Chang Kyun Kim

Chang Kyun Kim

 

 

 

 

Flemish Masters, That’s Life at Andrea Rosen: I was pleasantly surprised to find this show, curated by Belgian art collector Filiep Libeert, that looks into contemporary Flemish masters. I’ve always appreciated the detail of Flemish masters long gone (van Eyck and Bruegel are up there) and their attempt to engage the viewer with a large spectrum of symbols and minutiae. The dissection of such images demands effort, but rewards the viewer with visual acrobatics.  The show includes a variety of media (sculpture, painting, video, photography) that should update the conception of the Belgian mindframe. Furthermore, this is part one of a two part installation that will open sometime in the future with another 8 Masters, including Luc Tuymans and Francis Alys. This first portion includes Berlinde de Bruyckere, one of my favorite artists of all time, among others. Open through March 5.

 

Kris Martin, 'Summit,' 2009, Found stone, paper cross, ink. 249 x 81 x 50 cm

Kris Martin, 'Summit,' 2009, Found stone, paper cross, ink. 249 x 81 x 50 cm

Kris Martin, 'Summit,' 2009, installation view

Kris Martin, 'Summit,' 2009, installation view

Thierry de Cordier, 'SPINACHE (Why not rather paint a seascape?),' 1999-2005. Oil, enamel and Chinese ink on canvas, 205 x 270 cm

Thierry de Cordier, 'SPINACHE (Why not rather paint a seascape?),' 1999-2005. Oil, enamel and Chinese ink on canvas, 205 x 270 cm

Berlinde de Bruyckere, 'La Femme sans Tête,' 2003. Wax, epoxy and iron, 90 x 60x 160 cm

Berlinde de Bruyckere, 'La Femme sans Tête,' 2003. Wax, epoxy and iron, 90 x 60x 160 cm

 

 

 

 

Robin Williams: Rescue Party at P.P.O.W: I hadn’t seen Williams’ work until recently at a group show over the summer at Like the Spice gallery. I was immediately enamored with her bright color palate and transcendental Gumby adolescents. I feel like I’m on a joyride in her images. Maybe its because the youths she depicts are doing little more than daily chores, ranging from milking cows to heaving wood up a hill. They are aware of ascending upon a switch in their lives but appear befuddled at the thought of maturity. If only I had a flower crown or two soft bunnies to assist me in my musings, maybe a quarter life crisis wouldn’t seem so bad.  Closing February 26.

 

Robin Williams, 'Cabbage Patch,' 2010, oil on linen, 44 x 72 inches

Robin Williams, 'Cabbage Patch,' 2010, oil on linen, 44 x 72 inches

 

Robin Williams, 'Flower Cap,' 2010, oil on linen, 48 x 48 inches

Robin Williams, 'Flower Cap,' 2010, oil on linen, 48 x 48 inches

Robin Williams, 'Rescue Party,' 2010, oil on canvas, 80 x 90 inches

Robin Williams, 'Rescue Party,' 2010, oil on canvas, 80 x 90 inches

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