Contemporaneous Extension


“The leaves are all falling, and they’re falling like they’re falling in love with the ground.”

Isn’t it funny how easy it is to get psyched for the fall’s belligerence despite feeling completely overwhelmed and somehow inactive still? So much art, y’all! Here are some things I got excited about in the last 2 weeks. (Quotation by Andrea Gibson)

 TIP TOLAND, DEAFENING, 2010. STONEWARE, PAINT, CHALK PASTEL. 12 X 14 X 8.5 INCHES.

Tip Topland, Deafening, 2010. Stoneware, paint, chalk pastel. 12 x 14 x 8 1/2 inches. Image courtesy of gallery website.

Clay Bodies at Barry Freidman — ceramics and more ceramics. I enjoyed the assorted styles, the remnants of historical baggage, and finding new implications in the forms. Show is open through October 30, 2013.

CRISTINA CORDOVA, ARCO, 2013. CERAMIC. 39 X 15 X 5 5/8 INCHES

Cristina Cordova, Arco, 2013. Ceramic. 39 x 15 x 5 5/8 inches. Image courtesy of gallery website.

 SERGEI ISUPOV, BELIEF AND HOPE, 2013. PORCELAIN. 17 7/8 X 18 3/4 X 9 1/4 INCHES

Sergei Isupov, Belief and Hope, 2013. Porcelain. 17 7/8 x 18 3/4 x 9 1/4 inches. Image courtesy of gallery website.

We also have Serena Carone: That Which I See (Ce Que Je Vois) at Oko in the East Village. Give me some religious iconography and a curiosity about the lives of objects and I am down. Anthropomorphic sculpture is definitely trending.

Serena Carone, Look At My Gun, 2009, cold-hammered tin inset with glass

Serena Carone, Look At My Gun, 2009, cold-hammered tin inset with glass. Image courtesy of the gallery website.

Serena Carone, Crying Woman, 2010, ceramic, enamel and electric motor

Serena Carone, Crying Woman, 2010, ceramic, enamel and electric motor. Image courtesy of gallery website.

Video of Crying Woman can be found here.

Jonas Wood has an incredible solo show up at Anton Kern through October 19, 2013. His mastery of pattern and composition manages to envelope while it confuses. It feels like a split-screen mashup of reality, where you’re swimming between dimensions. Somewhat dreamlike, but only in that way that you can tell something is off despite the obvious resemblance. There are a few less people in this series than I am used to, but I enjoy his rendition of Schiele’s epic landscape and the genre scenes of modern California interiors.

Jonas Wood, Ovitz' Library, 2013, Oil and acrylic on canvas.  100 x 132 inches  Courtesy Anton Kern Gallery, New York (AK# 9859)

Jonas Wood, Ovitz’ Library, 2013, Oil and acrylic on canvas. 100 x 132 inches.           Courtesy Anton Kern Gallery, New York (AK# 9859)

Jonas Wood, Schindler Apts, 2013. Oil and acrylic on canvas. 132 x 112 inches.  Courtesy Anton Kern Gallery, New York (AK# 9866)

Jonas Wood, Schindler Apts, 2013. Oil and acrylic on canvas. 132 x 112 inches. Courtesy Anton Kern Gallery, New York (AK# 9866)

Jonas Wood, Basel Switzerland, 2013. Oil and acrylic on linen. 35 x 27 inches.  Courtesy Anton Kern Gallery, New York. (AK# 9857)

Jonas Wood, Basel Switzerland, 2013. Oil and acrylic on linen. 35 x 27 inches. Courtesy Anton Kern Gallery, New York. (AK# 9857)

Since discovering Daniel Arsham, an artist experimenting with 2D and 3D design as well as architecture/design via Snarkitecture, I’ve found him relevant to just about every impulse that autumn has thrown my way. His work is elastic with its emotion. It makes me feel empathetic toward Medusa, toward her victims. Misery loves company.

Daniel Arsham, The Eyes, 2010, gouache on mylar

Daniel Arsham, The Eyes, 2010, gouache on mylar. Image courtesy of the artist’s website.

Daniel Arsham, Limb (Green), 2007

Daniel Arsham, Limb (Green), 2007. Image courtesy of the artist’s website.

Daniel Arsham, Sideways Clock, 2012, clock, fiberglass, paint, joint compound. Image courtesy of the artist's website.

Daniel Arsham, Sideways Clock, 2012, clock, fiberglass, paint, joint compound. Image courtesy of the artist’s website.

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