by Anthony Haden-Guest, July 13, 2016
One of the most visually striking pieces at the gallery is by British artist Piers Secunda, who creates moulds of bullet holes made by so-called Islamic State militants and casts them in replicas of ancient reliefs.
Pulse Play Selection (1 of 3): Les Joynes, Shapeshifter (2014) video 2:30 min.
In Shapeshifter, New-York based, Les Joynes recontextualizes Joseph Beuys’ I Like America and America Likes Me (1974) during his journey to the Khovsgol Province in Northern Mongolia.
Exploring nomadic identity, Les Joynes performs this shamanic ritual expanding his Selfhood in the adaptation of the Other.
Pulse Projects Selection: Armando Marino, Narcissus (2016) oil/ canvas
Inspired by the classic Greek mythology and today’s youth culture, Armando Marino’s large scale Narcissus is part of a series of his major oil paintings
that would reflect his romantic commentary on the growing prevalence around us of taking smartphone “selfies”. Narcissism is alive and well.
December 2 – 6, 2015
CONTEXT Art Miami Pavilion | Midtown Miami – Wynwood
2901 NE 1st Avenue | Miami, FL 33137
BOOTH CTX 41
Suburban Scenes, Poetic Paintings and Apocalyptic Art
Jessica Rohrer, Darrell Nettles and Jorge Tacla in this week’s Fine Art
‘When You Look at Me’ (2014) by Darrell Nettles. PHOTO: DARRELL NETTLES
Darrell Nettles’s paintings, gallery press materials say, “are ergodic in the deepest and most satisfying sense of the word.” Ergodic is a math/physics term indicating a system that operates over both time and space. Applied to the handsome, elegantly ordered letter-and-word pictures of Mr. Nettles (b. 1948), it seems to mean that the viewer is intended to appreciate them both spatially as paintings and sequentially, as texts to be read.
In terms of the former, the artist does a fine—actually, a refined—job. “When You Look at Me” (2014), at 82 by 60 inches one of the two big paintings in the show, is as dignified as a diplomat’s three-piece suit. Two smaller near-abstractions with partial letter shapes incised in thick white or black paint are more vigorously arresting.
The exhibition slumps a little in the midsize panels (about 3 feet high by 2 feet across) with sprayed-and-masked-off whole words. In them, the painting quotient is less, the poetry part greater. The poetry is conventionally abstruse, but not much more than that.
In Conversation: Elio Rodríguez
As he wraps up a fellowship at Harvard, the artist reflects on the experience and what comes next
Steven Heller in conversation with John A. Parks on his new paintings and show In New York.
Diana Copperwhite, an Irish painter living and working in Dublin, deserves more attention than she currently receives. Her “Shadowland,” a colossal, color-filled expressionist work humming with energy, brings to mind Richter and others from the new European school.
PULSE NEW YORK
125 West 18th Street New York, NY 10011
Diana Copperwhite Skanner Darkly 2015
Oil on canvas, 72 x 96 inches
Danny Rolph JV3 2014
Oil on Canvas, 84 x 72 inches
Armando Marino, The Raft ( La Patera) 2014 , Bronze, 50x 23×20 inches
The CONTEXT | Art Miami Pavilion Midtown |
Wynwood Arts District 2901 NE 1st Avenue
Miami, FL 33137 www.contextartmiami.com
by Hrag Vartanian on June 27, 2014
Clockwise from top left, a detail Armando Marino’s “The Young Artist” (2014), installation view, detail of “Crying Girl” (2014), and installation view. (all photos by the author for Hyperallergic)
If Armando Mariño’s earlier art looked at the outside world with a critical postcolonial eye, his recent paintings probe visceral states of being tinted by melancholy and framed by a directness that feels intimate. Seen through a frosty lens, the artist’s big paintings in his current show at 532 Gallery Thomas Jaeckel are largely centralized compositions that focus on a solitary figure or object turned away or obstructed from the viewer. The impact of his visual elision opens up the strongest work emotionally, leaving crumbs along the away to invite the viewer inside the work, where he shows off his technical prowess.
“The Young Artist” (2014) uses 19th-century German artist Casper David Friedrich‘s signature rückenfigur device (a person seen from behind, contemplating the view), to mark a sense of presence that is equally striking for its feeling of absence. The shadowy figure pops out of an impossible inner frame that directs our attention to a pinkish-hued winter scene blanketed with a deep sense of longing. Like many of the works here, the scene is specific without revealing an actual sense of place — it is a fairy tale world that at every turn begins “once upon a time.”
His “Crying Girl (2014) is equally enigmatic — veering into the realm of magic realism — as a young female figure cries in the branches of a tree that splays the composition every which way. The background of the painting is sprinkled with glowing orbs of color but the reason for her sobbing is unclear even if it feels easy to read into her life story. The barren tree seems to comfort her, but as the viewer we feel awkward about looking at her in pain.
Space is frequently conflated or telescoped in these paintings, which gives them a timeless quality. In “White Tree” (2014), Mariño places an icing-like white tree again warm reds, deep blacks, and accents of bright digital colors. The forms are rooted beyond the painting’s edge, which flattens the picture and lures us to the surface where fireflies of color and texture reveal a different, more abstractly formulated, composition.
But in a few works, namely “The Bride” (2014), the sense of space is too contorted and the subject feels too distant to create a connection with the viewer. His art is most successful when the tension between figure and ground is strangely unsettled, and his work calcifies when the boundaries are more distinct.
All the paintings in this show depict rural night scenes, which heighten their sense of solitude. In frames of darkness his painterly magic glows. I imagine Mariño himself is the figure in “The Young Artist,” looking away towards the two coniferous trees burdened by the weight of the snow. There is a sobering sense of relaxation in this work as we see the youthful artist, perhaps awestruck or curious, contemplating his place in the world. Unlike Casper David Friedrich, Mariño doesn’t offer glimpses of the sublime, preferring instead to focus on the manmade in these allegories, uncovered in the dark recesses of his studio, where time stands still and spring finally arrives.
Armando Mariño’s New Paintings After a Long Winter continues at 532 Gallery Thomas Jaeckel (532 West 25th Street, Chelsea, Manhattan) until June 27.