Whether in her signature floating cubes or her lesser-known embroidered paper works, Agha's lacy snowflake designs -- layered in translucent piles -- draw in the viewer's eye and won't let go. There is just so much to feast upon.
He walked past a building with a bright, colorful mural, and struck by the contrast with the actual weather, he ventured inside, where he found a man behind a counter wearing sun glasses beneath the awful fluorescent lights.
Collapsing boundaries of what lies inside vs. outside an exhibit seems to be on many artists' minds this summer. Terence Koh's current exhibition at the Andrew Edlin Gallery pushes this inside/outside blurring from the four walls of the white cube literally into outer space.
Is this Creed's hell? Is he encouraging his audience to abandon hope?
Letters and numbers abound -- in the form of building blocks and refrigerator magnets, but they add up to nothing. No sense can be made. Pink has no place in a black and white world.
“Now isn’t the time to navel gaze or decorate,” writes Christina Rees on GlassTire. “Artists and musicians and writers and filmmakers have always been good at sounding the alarm. I’d sure like to see more of it right here at home…Artists would do well,” she concludes, “to tap their inner revolutionary.”
Meaning lies somewhere between the text and its audience.
To focus on the machine is to miss the work itself, an ever-changing halo of light. It’s an experience that is untranslatable, and that’s really the point.
Featuring artists represented by 55 galleries, the fair offers viewers a chance to take in a broad range what's selling in the commercial art world.
Abramowitz creates a textured depth that pulls viewers into the composition, into spaces between the fields of color, the layers of tissue paper, where tribal prints depicting animals and abstract forms swim with words and prisms, mouths and hands and demons, icons and pictograms.