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EXPO CHICAGO/2014
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JANUARY // IN REVIEW


 

PROFILE OF THE CURATOR // DOMENICO QUARANTA
By Dominique Moulon

Domenico Quaranta is a contemporary art critic and curator specialized in new media. He writes regularly for Flash Art and is the author of the book Media, New Media, Postmedia. Living and working in Italy, he teaches Net Art at the Accademia di Brera in Milan.
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JULIANNE SWARTZ // SMoCA
by Sarah Hamilton

Viewing artwork in a gallery or museum is a two-part pleasure. The first part is the pleasure you take from viewing the artwork – seeing it up close, perhaps walking around and leaning in to it. The second part is watching others in the gallery move around the same works and seeing the satisfaction that emerges from that experience. Viewing art can never be quite a shared mass experience, but watching others enjoy a piece brings art viewing closer to it.
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ISA GENZKEN: RETROSPECTIVE // MoMA
by Nadiah Fellah

Seen side-by-side, one would hardly guess that the colorfully accessorized mannequin sculptures and the architectural models made with mathematical precision were created by the same artist. Yet, both are prominent parts of Isa Genzken: Retrospective currently on view at the Museum of Modern Art in New York. Representing distinct periods in the artist’s forty-year career to date, both are also indicative of the artist’s incessant investigation of form across media – a practice encompassing sculpture, drawing, painting, photography, and film, resulting in a variable and diverse oeuvre.
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PROFILE OF THE ARTIST // MATT LIPPS
by Andrew Zizik and Blaise Danio

At first glance, Matt Lipps is a photographer. Though, if you take a closer look into his exhibit Library at Marc Selwyn Fine Art in Los Angeles, you’ll see he is as much a prop stylist and set designer. His technique involves a multi-dimensional process, from collaging and posing, to lighting and photography. He cuts out images from various publications, which in the instance of this exhibition is from a large volume of Time-Life photographs from 1970–1972.
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PAUL COWAN // PARALLEL PROCESSING
by Stephanie Cristello

– Originally published on New American Paintings –
Generosity is rarely immediately questioned when viewing an exhibition for the first time. It is often a given in the work, in many ways expected, though it is not to be underestimated. In his current exhibition on view at Shane Campbell, Parallel Processing, local painter Paul Cowan stages a void – a scarceness of information and material that favors a sparse collection of work, mainly a flush series of monochromes with minimal demarcations.
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ARTURO HERRERA // CORBETT vs. DEMPSEY
by Shreya Sethi

Arturo Herrera has always been interested in how his artworks are “read.” As an artist dealing primarily in the medium of collage, he articulates a language that is able to combine different elements, and therefore say multiple things simultaneously. The artist is aware, however, that in the visual world, images are nonetheless still subject to fixed associations and can sometimes be as comprehensible as word or text. In his most recent production, Books, Herrera addresses these issues of the intelligibility in art in an aggressive manner, waging war on singular meaning.
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WORDWEARY // BAS FISHER INVITATIONAL
by Dana Bassett

I found out about Tao Rey’s Instagram account the same way I find out about most cool art stuff – Domingo Castillo told me. This bit of Miami art news was initially striking because at the time (and probably still), Domingo didn’t even have a smartphone capable of viewing Instagram. Compounding my surprise was the fact that though I knew of Rey’s artwork and his involvement with “the House,” I had never seen him show any of his own artwork anywhere ever.
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LIONEL MAUNZ // BUREAU
by Tara Plath

In stark contrast to white walls and light patchwork floorboards, the sculptures of Lionel Maunz shade the space of Bureau in New York. The methodically placed cast iron and concrete sculptures stand and lay around the gallery, feeling neither cluttered nor sparse.

For his third solo exhibition with the gallery, Lionel Maunz takes his title from Paolo Uccello’s 1457 fresco, Deluge : a scene of violence and confusion in the confines of the looming walls of Noah’s Ark. Walking amongst each sculpture, I felt a similar sense of merciless abandon.
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A PSYCHIC SLIDE THROUGH TIME // GRAND ARTS
by Sarah Hamilton

An Interview with Lacey Wozny and Danny Orendorff on the Charlotte Street Visual Artist Awards Exhibition

To those who know it, Kansas City has a vibrant visual arts community, shored up by institutions like the Kansas City Art Institute, Grand Arts, and the Neman Museum of Contemporary Art.

The current exhibition of the Charlotte Street Foundation Visual Artist Awards Exhibition at Grand Arts, presented in partnership with the Charlotte Street Foundation, is no exception. The award provides financial and curatorial support to Kansas City-based artists – this year’s recipients being Mike Erickson, Ericka Lynne Hanson, and Paul Anthony Smith. THE SEEN caught up with Grand Arts Curator Lacey Wozney and CSF Curator-in-Residence Danny Orendorff to talk about this year’s awards exhibition, the recipients, and working in the Midwest.
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ASSORTED ABSTRACTION, IN THREE PARTS
by Tara Plath

The exhibition currently on view at Thierry Goldberg is repetitive, but not redundant. On view through February 2, it features two artists in three parts; each installation exists as a chapter of the untitled series of paintings by John Bianchi and Jeffrey Kessel. Facing out of the gallery and onto the street are John Bianchi’s series of three untitled works from 2013 – three large panels in faded sunset hues and dry-wall white. The panels are composed of wood and aluminum, covered in acrylic paint and then sanded into smooth and uniform textures. Evidence of hardware and seams are faintly visible, creating subtle and seemingly chance compositions.
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ANGELINA GUALDONI // ASYA GEISBERG GALLERY
by Nadiah Fellah

Angelina Gualdoni’s paintings are works that reward a close look. The fragmented scenes captured on her canvases are at once formally complex and materially simple, depicting images that verge on the figurative, while fading into abstraction in certain passages. Gualdoni says of her current work: “I [want] to make the physicality of the painting much more pronounced in this series. The idea of seeing an image at one distance, and it dissipating as you move closer, has always interested me.”[1]
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STAGE SET STAGE // ON IDENTITY AND INSTITUTIONALISM
by Tina Gelsomini

Scene:  The evening of January 16, 2014. Paul Desmarais Theatre, Canadian Centre for Architecture, Montréal. The lights are dim. The screen has just gone dark to swallow up the wood-paneled walls of the enclosed theater. The barely audible shifting of bodyweight in cushioned seats reaches through the silence.
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Image up top: Lionel Maunz Deluge at Bureau, New York. Installation View. All images are courtesy of the artist and Bureau New York. Image credit: Jason Mandella.

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