Shaky Ground Curated by D. Dominick Lombardi Lesley Heller Workspace, NYC January 8–February 14, 2016
It is traditionally assumed that the art object is a record of history, whether the history of the artist, of its time, or merely an object left over after the fall of a civilization. While the writing of a period is open to the influence of retelling, interpretation, or the vagaries of translation, the visual object, by its very nature, promises us the stability of meaning inherent in its "objectness." How, then, in an age where perpetual war, disintegrating environmental conditions, and rapidly accelerating technologies, do we expect our artworks to function? What kinds of anxious objects will best represent to future generations our story? D. Dominick Lombardi poses these questions, and a group of artists at Lesley Heller’s Workspace seek to answer them in the exhibition Shaky Ground.
Lombardi’s choice of artists is interesting.
It is traditionally assumed that the art object is a record of history, whether the history of the artist, of its time, or merely an object left over after the fall of a civilization. While the writing of a period is open to the influence of retelling, interpretation, or the vagaries of translation, the visual object, by its very nature, promises us the stability of meaning inherent in its "objectness." How, then, in an age where perpetual war, disintegrating environmental conditions, and rapidly accelerating technologies, do we expect our artworks to function? What kinds of anxious objects will best represent to future generations our story? D. Dominick Lombardi poses these questions, and a group of artists at Lesley Heller’s Workspace seek to answer them in the exhibition Shaky Ground.
Lombardi’s choice of artists is interesting.
- 1/14/2016
- by bradleyrubenstein
- www.culturecatch.com
A Tangled Web: D. Dominick Lombardi, Curator Causey Contemporary Through January 29, 2015
The group show is one of those things that can either be done well or becomes an exhibition overwhelmed by variety -- or worse, a clutter of objects that don’t relate to each other without the benefit of lengthy wall texts. D. Dominick Lombardi, a veteran New York curator, has managed to pull together a visually interesting exhibition at Causey Contemporary, which was based on the simple premise of pairing the artists represented by the gallery with an outside artist of Lombardi’s choosing whom he felt complemented the work. What results is a show that is short on theory and long on visuality. He has turned the exhibit into a kind of dance, with one wondering (without looking at the cheat sheet) which artists are waltzing with each other.
To paraphrase the ninth-century Tang Dynasty poet Du Fu,...
The group show is one of those things that can either be done well or becomes an exhibition overwhelmed by variety -- or worse, a clutter of objects that don’t relate to each other without the benefit of lengthy wall texts. D. Dominick Lombardi, a veteran New York curator, has managed to pull together a visually interesting exhibition at Causey Contemporary, which was based on the simple premise of pairing the artists represented by the gallery with an outside artist of Lombardi’s choosing whom he felt complemented the work. What results is a show that is short on theory and long on visuality. He has turned the exhibit into a kind of dance, with one wondering (without looking at the cheat sheet) which artists are waltzing with each other.
To paraphrase the ninth-century Tang Dynasty poet Du Fu,...
- 1/13/2015
- by bradleyrubenstein
- www.culturecatch.com
Arcady Kotler: Sculpting the Void Able Fine Art Gallery, NYC
Innovative artist Arcady Kotler is not associated with any particular creed, religion, or tradition, but excludes none. At the core of his works lies a profound sense of intimacy that hopefully initiates a dialog, for which the artist always longs. Kotler's work presents the evolution of a concept bearing form: from elaborately adorned yet impeccably harmonious ("Clothed Maja") to minimalist, with a strong reference to Russian supremacy; in "The Red Square" [left], the rigid geometry of a square intrudes on the organic form of the intentionally excessively decorated Russian nesting doll. It feels as if complexity has reached its limit and collapsed into the simplicity of the red square.
A matryoshka is a traditional Russian toy, the skill level of which rests on the number of nesting dolls it consists of. The last and smallest doll of Arcady's matryotshka is not hollow.
Innovative artist Arcady Kotler is not associated with any particular creed, religion, or tradition, but excludes none. At the core of his works lies a profound sense of intimacy that hopefully initiates a dialog, for which the artist always longs. Kotler's work presents the evolution of a concept bearing form: from elaborately adorned yet impeccably harmonious ("Clothed Maja") to minimalist, with a strong reference to Russian supremacy; in "The Red Square" [left], the rigid geometry of a square intrudes on the organic form of the intentionally excessively decorated Russian nesting doll. It feels as if complexity has reached its limit and collapsed into the simplicity of the red square.
A matryoshka is a traditional Russian toy, the skill level of which rests on the number of nesting dolls it consists of. The last and smallest doll of Arcady's matryotshka is not hollow.
- 12/6/2012
- by SteveHoltje
- www.culturecatch.com
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