“You cut a hole in the building and people can look inside and see the way other people really lived… it’s making space without building it.” – Gordon Matta-Clark
Industrial materials and a delightful array of dimensions provide new angles on urbanity in “Chris Esposito:Wall Sandwich,” on view now at Amos Eno Gallery at 56 Bogart St through Sunday, July 18th.
Esposito is a Queens-based artist. A born and bred New Yorker, the artist’s familiarity with the city permeates every aspect of the exhibition. Construction is one constant traversing the city’s streets, and familiar sights such as dangling shoes and lath wood, metal and cement confront urban residents at every twist and turn of the city’s winding streets. Eroding painted signage from days gone by are visible on the sides of buildings from overpasses and aboveground subway lines throughout the city, revealing varying degrees of erasure as they play out across the skyline. Fences separating properties across the city’s five boroughs range from elaborate, pointed arches to brushed chrome. All of these experiences and more infuse “Chris Esposito: Wall Sandwich” with a potent representation of how residents and visitors interact with spaces surrounding them in urban landscapes.
Works on view present a study in contrasts, with the artist embracing industrial materials and artistic processes in equal measure, forming a strange yet powerful combination. Works included in this exhibition, such as “Split/Connect” (below image, work on right,) incorporate oil, tar and steel rods, while artistic techniques like painting, collage and assemblage are utilized throughout. Lath wood and bricks form the structure supporting the artist’s large-scale work, “Wall Sandwich,”: the exhibit’s namesake. Notions of the simulacrum pervade the show as well, with paintings of wood boards flanking actual wood structures, such as with “…Only inches away…,” and “Exterior Clapboards: Detroit”, questioning how the structures which we perceive around us in cities can both reveal and occlude vibrant histories.
In revealing the interiors of structures and their intrinsic relationship to exterior walls, Esposito notes that he, “concentrates on the interior and exterior of the walls, the space in between, the endless layers of palimpsest both polished and tarnished. It is a study of the soul of New York City.” Repeating motifs jostle for attention with surprising elements, such as a metal tag hanging off a string from the central board of “Leftovers.” City residents and guests strolling through New York will notice hanging objects proliferate throughout the city, whether it’s a hanging pair of shoes on power lines or a misplaced mitten hanging off a wrought-iron fence on a snowy day. The city gives as it takes away: construction materials throughout the exhibition also allude to real estate development and a city in constant cycles of demolishing and creating new buildings throughout the five boroughs. Visitors can approach these themes embedded within the exhibition in view of their own relationship to these different aspects of city life, finding correlations to their own journeys across, below, and around structures in New York City.
The underlying landscape that supports the city’s infrastructure takes center stage in “Chris Esposito: Wall Sandwich.” Thanks to the artist’s clever compositions and keen insights, visitors are able pore over contrasting textures and surfaces presented at a range of scales and form connections between the works on view and the city’s many tangible layers of architectural histories.
On view through July 4th at Peninsula Art Space in Red Hook, Brooklyn,TORQUE brings a heightened attention to surface detail and the painterly gesture. The show’s title notes of torque that it “is the driving force for all human movement,” and paintings on view form a dialogue around how transitions and movement are expressed in painting. Works on view are by artists Craig Taylor, Georgia Elrod, Graham Durward and Allison Evans. From the painterly figurative stylings of Graham Durward to the jagged aggregations of brushstrokes by Craig Taylor, TORQUE offers a survey of painting that intimates and suggests more than it ultimately reveals.
Durward’s compositions contrast figures against seemingly idyllic backdrops, creating ambiguous figures inhabiting unsettling scenes. Off into the distance, a rising plume of smoke draws attention away from this close cadre of figures cavorting together, inserting another narrative into the scene that feels far removed from the vacation vista presented at first glance.
The scale of works on view also makes a strong impact, with works such as Georgia Elrod’s “Midnight Oils” overwhelming the viewer and beckoning them forward seemingly into a new dimension as they enter the space. The human figure is present throughout the exhibition, but these subjects are seemingly erased from view and/or presented in fragments. Works by Allison Evans form a cheeky commentary by filtering subversive figurative elements through the lens of historical elements such as Grecian urns, painting these in flat yet expressive brushstrokes. Craig Taylor’s works indicates his deft brushwork as a painter, allowing the surface of his paintings to seemingly expand outward through implied movement away from the picture plane.
TORQUE at Peninsula Art Space is open from 12-7 pm on Saturdays and Sundays, and is located at 352 Van Brunt Street at Sullivan Street. Check out their website for more details on their exhibits: http://www.peninsulaartspace.com/ .
A feeling of lightness and buoyancy surrounds viewers upon entering “Traces,” a mixed-media installation by multidisciplinary artist Tulu Bayar on view through June 13th at Amos Eno Gallery. Over one hundred circular works composed of photographic film rolls, ink, and resin float weightlessly on the walls. These are presented in the space at varying heights as if rising and cresting, like a wave, and floating around the viewer. Dark rolls of film spiral, unravel, and protrude from the works with a deliberate sense of gesture and line, while vibrant colors swirl within the transparent resin. Citing influences such as calligraphy, Islamic manuscript painting, and ebru – the mesmerizing practice of Turkish marbling art – Tulu Bayar crafts a distinctive visual language that viewers can interpret and find meaning within.
Anchoring the space are four works which lie flat on plinths, offering the viewer the opportunity to peer down into their depths to explore Bayar’s works in more detail. Here, one can appreciate the materiality present and inherent to each unique work. Layered film rolls and multicolored inks sit on top of each other with a meditative stillness, as if frozen in time. “The gestural record on the surface stages a moment of existence that is no other moment,” remarks Bayar. “By containing that peculiar moment, I feel like I am able to memorialize the process.”
With “Traces,” Bayar deftly explores the metaphysical, the idea of oneness and the interconnected nature of beings and forms, and how individual difference resides within communal existence. This promotes an attitude of active engagement from the visitor.This lively, interactive process of “reading” reflects Bayar’s interest in the spirituality of mysticism and the teachings of Rumi. “The appearance of things changes according to emotions, and thus we see magic and beauty in them, while the magic and beauty are really in ourselves,” Bayar reflects, quoting Rumi directly. As we look into these works, we are looking into ourselves as well. As Bayar describes, this series embodies a “form of thinking and discovering a journey on a contained surface.” To embark on this journey with her, all viewers need is their imagination and a willingness to look.
A visitor can be forgiven for entering Yi Gallery’s current exhibition, “Mitosis“, and wondering whether they’ve been shrunken down into an aesthetically pleasing science lab.
All that’s missing is the petri dish.
This solo show of works by Leah Harper indicates the scope and breadth of the artist’s multi-disciplinary practice in dialogue with the lived environment, particularly with regards to marine life.
The abstracted “creatures” that the artist presents assume migratory patterns, frozen in a form of arrested motion. By foregrounding the objects themselves, one is compelled to think to a larger scale – that of the ocean itself. With light-filled sculptures installed in clusters on the floor of the gallery, minute azure-hued clusters of works arranged in meticulous sculptural groupings on one consolidated wall, and one-dimensional representations of these same minuscule “creatures” framed throughout the gallery space, guests are reminded to consider the scale of environments they encounter.
Another consideration is the fragility embodied by the range of “creatures” the artist has created for the exhibition. Whether embracing glazed porcelain, mixed media with resin or working on paper, the works Harper presents in “Mitosis” exude an element of precarity and preciousness. The flattened lines and graceful curves of Harper’s forms give visitors a tabula rasa from which to frame personal reflections on their own encounters with the ocean and its fragile ecosystems, such as coral reefs. These careful and clean linear stylings present in “Mitosis” are no accident, and their careful precision offer an homage to the delicate and overwhelming beauty found in nature’s presence.
Originally from the Gulf Coast of Florida and currently based in close proximity to the Atlantic in New York City, Harper’s work provides a delicately beautiful elegy to the oceanic environments we are ever compelled to preserve, or risk losing forever. Drawing from a rich background spanning fine art, architecture and graphic design, Harper’s perceptive work echoes Heidegger’s concept of the essence of artwork as a means of access to better explore truth and culture. “Mitosis” serves as a springboard to better frame the truth of our lived environments, our responsibilities to them and our ability to perceive the beauty of the living creatures around us in their purest form.
When the Albright-Knox Northland art museum announced their exhibition “Comunidades Visibles: The Materiality of Migration (La Materialidad de Migración)” curated by Andrea Alvarez, the premise emerged over the course of the exhibition as a clearly communicated, and community-oriented, concept. The show features works by artists Carolina Aranibar-Fernández, Esperanza Cortés, Raúl de Nieves, Patrick Martinez and Ronny Quevedo, all amassed for this exhibition, which remains on view through May 16 at the Albright-Knox Northland in Buffalo, NY. The exhibit focuses on highlighting works by First and Second-generation artists from the Latinx community based in the US, and presents materials in dialogue with lived histories and the effects of colonization. Of this tightly curated selection of artists, works forming highlights in this exhibition are installations by artist Esperanza Cortés, born in Colombia and based in New York City, which immediately catch the eye. Cortés investigates bodies and their accessories and frameworks in relation to both colonial legacies and gendered identities, and the sculptures she presents in this exhibition play with the evident and implied meanings of interiors and objects/material cultures. The compelling formal qualities present in the artist’s materials finds an echo in how the Latinx community encountering these works can respond to the installation art in visceral and personal ways.
Cortés’ work embraces an ambitious range of scales, with bejeweled chains reaching up to glorious heights while meticulously arranged glass beads adorn household furniture displayed just out of reach from museum guests. Cortés investigates how everyday objects from the home can be transformed, even transmuted, to communicate precious qualities of identity and memory. Nowhere is this embodiment of human identity indicated in the artist’s work more visibly than in her work La Cordobésa, depicted above. “As a former Afro latin dancer and teacher, I imbued La Cordobésa with body memory through the use of the embroidery from my dance ensembles,” reflects Cortés. “I then married these remnants with glass beads and glass pieces referencing the origins of European colonial interest. The upper chair given to me by the Joan Mitchell Center in New Orleans is from the 20th century, while the chair legs acquired in Utica are from the 18th century. The piece is a hybrid, a metaphor for the diversity of the people who make up the Americas.” The artist’s work demonstrates a nuanced and powerful approach to the various means of self-identifying that communities of color undergo, asserting that colonized peoples have the power to reclaim their own sense of self, their own voice and the ability to exact agency via their self-asserted identities.
Meanwhile, the artist’s grand gesture evident in her work Empire lays bare both the price, and costs, of colonization. While colonizing forces were happy to take existing wealth present in the regions they colonized, often taking these precious materials by force to remit back home to Europe, the costs of this perceived luxury had a marked toll on local communities in colonized regions of the globe, particularly the Caribbean, Central and South America. The glory of these beautiful gold chains in the artist’s sculpture undulate forth from the chandelier down to the floor below, underscoring the deep impact that this search for treasure has continued to exert on devastated communities: in the artist’s own words, “Imbued with the invaders’ narcissistic gains, the process of colonization extinguished societies, cultures, languages, species, environments and histories by way of plunder, pillage, and violence dressed as civilization.” With grand form, Cortés creates an impactful and eloquent statement in her installation works on view about the lingering legacies that have transformed these regions of the world, adopting an autobiographical lens which allows visitors new avenues for contemplation around colonization.
On view through this Sunday at Albright-Knox Northland, “Comunidades Visibles: The Materiality of Migration (La Materialidad de Migración)” is free and open to the public, and further details can be found on their website (link in exhibition title above.) Artist Esperanza Cortés is a Colombian-born contemporary multidisciplinary artist based in NYC. Cortés has exhibited in venues across the US, including Smack Mellon Gallery, Bronx Museum of Art, Queens Museum, El Museo Del Barrio, MoMA PS1 and Socrates Sculpture Park (all in NYC.) National exhibition venues include Turchin Center for The Visual Arts, Jonathan Ferrara Gallery, Corcoran Gallery of Art, Neuberger Museum of Art, and the Cleveland Art Museum.
Moving ahead as a means of re-visiting that which claims us: this process portends one potent lens through which visitors to Née, open through Sunday, May 2nd at REGULAR-NORMAL, can digest this sumptuous solo exhibit of works by Melissa Joseph.
The show, which opened to the public April 2nd at 41 Elizabeth Street in Manhattan (Fl 7), explores not only the artist’s own identity – a significant part of the exhibition’s scope – but also one’s identity within the context of a larger network, such as family. Joseph investigates, through her own relationship to her family and Indian-Irish-American identity, her childhood experiences in Pennsylvania and visits to the Jersey Shore. Mixed-media works portray approximations of accumulated memories, communicated through her intituitive understanding of the figures translated into felted wool, presented here in the show as a tableau-style homage to those who have influenced her upbringing. Through a range of mediums including sculpture, mixed media, textile, and found imagery, the artist reviews poignant moments of her own development, and her family’s past, through the veil of memory. The span of subjects represented here which form her life experience are as wide-ranging as the artist’s own explorations of materiality.
(above image: Clara Aunty at a sitar lesson (2021) needled felted wool on amate bark paper. Melissa Joseph.)
The show is not about nostalgia, remarks Joseph: rather, it is about utilizing different sleights of hand in the form of process – the hand sewing fabric, the hand connecting felt to a substrate, the hand wrapping found concrete fragments in silk – as means of linking aspects of our lives which determine who we are in relationship to our lived experience. The artist creates concrete steps toward this linkage – drawing together disparate elements in approximation to how we construct our identity through a range of relationships and experiences – within the solid forms of objects and artworks present within this exhibition. “I am still trying to understand where I came from. Most people are, but I have had some big paradigm shifts and reframes in the last 5-10 years, so looking back is never neutral,” reflects Joseph. “It’s really a way of “re-seeing” or trying to see things I might have missed more clearly.”
The artist mines a personal archive of family photo albums as a departure point for these mixed media portraits on view in the exhibit: visionary vignettes spanning a range of processes and artistic mediums. Joseph’s multi-disciplinary work often involves working with textiles. Joseph’s new floor-mounted sculptures offer a concrete departure from her work with softer materials, heralding a new embarkation in her practice and approach to art-making. Works such as “Captain Clara, Backwaters”, “Golden hour quarantine walk: Brooklyn Piers” and “Jim, Olive and Albert on Crawford St.” all offer the opportunity for the lived environment to intrude upon Joseph’s more textile-based ruminations. In these scuptural works, the artist creates with silk and wool, integrating these materials in an embrace with firm natural objects, such as rocks, found cement and clay. These objects, gathered from the artist’s experiences traversing Brooklyn, form cogent marks delineating the artist’s trajectory in physical space inasmuch as the artist traces her lineage and memories in the imagery presenting her life’s trajectory in other works on view.
Where more solid materials make their presence known, Joseph applies a softer material, such as felted wool and silk, in dialogue with these less malleable objects. This contradiction in terms of soft and hard material can represent the divergent aspects of memory and identity, particularly as relates to our closest relatives: our relationships to relatives are concrete and easily expressed through language, while remaining in some ways harder to communicate and/or express through the lens of memory. Joseph relates this concept to the idea of an “Aunty”: this formative role, present in families cross-culturally, can indicate a mother-like figure, a mentor, a tutor, or a moral guidepost. While the definitions we apply to our relationships with family members seem straightforward, in many cases it is how members of a family translate and express those roles for those individuals closest to them that adds more dimensions to these roles, and therefore, directing how we ourselves develop as a result of these meaningful relationships. Joseph is able to grasp these keen nuances by shifting between tangible, smooth surfaces and more painterly, hazy images created by working with felted wool, expressing layers of concrete relationships while also abstracting these relationships: much as we grasp a feeling aroundhow someone has impacted our lives, as opposed to tracing our genetic lineage.
The body of work on view was produced in dialogue with, and directly impacted, by the artist re-examining archives translating her family life and the memories that form the bedrock of her experiences in the wake of her father’s passing in 2015. Her work – which, she affirms, is object-based first and image-based second – takes her back to a re-examination of close personal relationships and the frameworks of family dynamics, poignantly expressed through a range of processes. Many of the artist’s works present the artist’s process of incorporating needle felted wool into her work, as she observes, “Felt allows for slippage.” Perhaps it is this practice of hovering liminal spaces between nebulous and concrete, present and past, which allow room for the artist to so forcefully communicate color, line and image, translating identity and memory in such a tactile and visceral manner.
” Née” is on view by appointment through Sunday, May 2nd at REGULAR-NORMAL in Manhattan’s Chinatown neighborhood. This exhibition is at 41 Elizabeth Street in Manhattan, Floor 7. For appointments, contact firstname.lastname@example.org .
Lines approach and recede from view in the effervescent compositions comprising Sugawara-Beda’s “I’ll Be There,” on view now through May 1, 2021, at the Thelma Sadoff Center for the Arts in Fond du Lac, WI. Tradition and expansion are present in the exhibit in equal measure, with the artist embracing traditional mounting techniques typically used to present Japanese paintings on paper on scroll format. This aspect of her exhibition, which exhibits work from her “KuroKuroShiro” series (the series title is Japanese for black-black-white,) has allowed the artist to approach new formats and avenues of collaboration. “For this exhibition, I incorporated tradition directly into my art by having my art mounted in a traditional mounting called Kakejiku,” remarks Sugawara-Beda. “This activity has become a collaboration with craftsmen and merchants and formed a new dimension in my art-making process.”
Collaborations notwithstanding, the artist’s work asserts its expansive presence through a dynamic sensibility that transcends the shades of gray it is composed of, seemingly eluding the two-dimensionality of the picture plane. Sumi ink is a medium that lends itself more readily to form broad, abstract washes, so it’s exciting to see Sugawara-Beda’s sharp use of individually distinguished lines and forms traversing the picture plane. While incorporating traditional elements, the artist’s work is anything but, sharing art historical space with the canon of Op Art and Abstract Expressionist painters as much as the traditional Japanese Sumi ink painting tradition.
Borrowing from the lexicon of seasonal paintings, which in Japan are often mounted on scrolls often related to the nation’s traditional 72 seasonsinforming the land’s literary traditions, and depicting landscape scenes relevant to each portion of the year, the artist here has provided elevated, abstracted pathways for visitors to construct their own relation to each ‘season’ on view. Whereas her KuroKuroShiro CI Sacred Lot – winter work provides the viewer with an expanse of space in which to lose their train of thought, much like a wind and snow-swept field, her work KuroKuroShiro CV Sacred Lot – summer seems to allude to the June rainy season in Japan giving way to the warm nights of summer and the kero-kero cries of frogs in the balmy air. Even visitors unfamiliar with Japanese traditions can find respite in these works, which provide a hypnotic assembly of overlapping and receding lines for viewers to ruminate over.
Meditative and idiosyncratic in equal measure, the artist’s work finds its own path to nature. The artist notes of the works mounted on Kakejiku that they allude to a higher, spiritual sense of nature and the seasons. “Even though [these works] are in a vertical format, they are still landscapes, and each generates a seasonal tone: spring, summer, autumn, and winter,” observes Sugawara-Beda in her work statement. Each work opens up a reverie for viewers to explore, with seasons mounted specific to the traditions of patterned fabrics as adopted for use in Japanese traditional painting presentation. The artist hearkens back to the highly developed appreciation for the season’s procession embedded within Japanese perspectives, while adapting a sensibility aligned with Western abstract painting traditions, giving way to a Third Space in which visitors can find their own framework for navigating the formal elements of her paintings. There is something ready waiting for everyone to find in “I’ll Be There.” Check back with the Thelma Sadoff Center for the Arts for exact directions and visiting hours.
ArtistAlex Guofeng Cao is no stranger to pop culture: in fact, he’s examined many aspects of it down to the cellular, and celluloid, level. An avid admirer of American pop culture with a precise knowledge of photography, film and digital, Cao’s visions produce fantastically detailed hybrid portraits combining celebrity headlines and art history highlights, from the 20th century and earlier, for “Pixelation” at Fremin Gallery.
Artworks with titles such as “Modigliani vs. Marilyn” give some indication as to the artist’s method and artistic process. Through careful repetition of one particular image – for example, an artistic nude of Marilyn Monroe – the artist then creates a composition of another iconic image, such as a famed Modigliani painting. Fremin Gallery explains his unique vision through their show announcement. “Cao meticulously places each smaller image to form a dynamic gradient from dark to light which tricks the eye into seeing one image. This expertise in contrast is exemplified in all of his works, from striking black and white pieces to stunning explorations in high-definition color. He cleverly mirrors this visual contrast in his subject matter by subverting the main image and creating a dialogue between the macrocosm and microcosm.”
Where Cao’s work truly shines is in the detailed attention he allows not only the formal composition of the two interrelated artworks he presents, but also the conceptual license he takes in combining the imagery present in each artwork. Often commenting on social and cultural constructs, such as beauty, sports, and celebrity culture, these works serve as a provocative jumping off point for viewers to form their own connections to these themes. Paying careful attention to celebrities dominating the period of pop culture when Pop Art, with its luminaries such as Andy Warhol and Roy Lichtenstein, both of whom Cao reference overtly, these works give deference to a period in which American culture was beginning to make its mark on the global stage. Cao’s works offer a new perspective on what it means to not only see the potential of art to digest images, but also the potential for the world to see American culture through fresh eyes – or, perhaps, a new lens.
On view at Fremin Gallery through April 10th, Pixelation is worth a visit as a potent reminder that there is definitely always more than meets the eye on view, particularly when viewing these extraordinary works. For more information, visit the gallery’s website: http://fremingallery.com/exhibitions/
On view now at The Yard: Flatiron South (234 Fifth Ave) through April 17th, Akeem Duncan’s curatorial magnum opus, “TOGETHER.”, takes center stage, featuring works byMarguerite Wibaux and Dhanashree Gadiyar. The interlocking, tightly executed hybrid of pattern and hue permeate the portraits painted by Wibaux, while Gadiyar’s works on paper astound in complexity and detail. The two artists complement one another in tone, temperament and preciousness. Whether outlining the marvels of the Aurora Borealis or probing the subtle corners of a subject’s smile, these artists focus on wonder, and the connections we seek out that make life meaningful and memorable.
Curator Akeem Duncan (Editor-in-Chief, Quiet Lunch) has come into his own intimate understanding of the space which he is curating, taking time to place paintings in contrast with specific architectural details and with the viewer’s relative position to each artwork in mind. Wibaux’s paintings in particular, with their ornate fabric pattern-inspired swaths directing the viewer’s eye across the canvas, present an interesting opportunity to contrast against white walls and brick in equal measure. Visitors to the exhibition encounter these works, imbued as they are with a playful yet precise air throughout the Yard’s space.
Wibaux’s intimate knowledge of her subject are on display in the captivating in which she paints their emotional state, ranging from anxious to assertive, self-assured to hesitant. The artist’s loose and fluid brushstrokes approximate the subject’s current state, while fabric-inspired patterning flanking each of these portrait subjects brings an alternate reading to the composition. Combined, these two elements create a striking balance in the portrait in an effect that Wibaux notes helps…” to focus on the human figure.” “Generally speaking, my art practice aims to challenge common representations, the way we look at ourselves as a society,” remarks Wibaux. “As an artist I don’t feel I can change the world, but I can help shifting representations. Getting your portrait painted in art history has mostly been a symbol of power. Through my portraits, I want to give power to our young and diverse youth, to give them a voice, to have people really SEE and LISTEN to them.”
Intimate framed paintings by Dhanashree Gadiyar are interspersed throughout the exhibition. Her works frequently depict figures immersed in resplendent landscapes, or brightly colored scenes also capturing bright and undulating patterns. Gadiyar readily reflects on the impact that pattern exerts on her work. “My love for patterning comes from my exposure to the folk art forms of India such as Madhubani, Gond and Patachitra,” explains Gadiyar. “I incorporate these traditional forms of mark-making as well as intuitive and automatic patterning. Also, as a trained embroidery artist, I tend to treat the paper like fabric, filling it in obsessively with my marks.” Also notable is the artist’s use of organic line, curve and color to create rounded and smooth compositions, seemingly expanding off into the distance of the picture plane.
The artist works with watercolor and acrylic on paper, as opposed to canvas, adding a precious quality: a feeling of delicacy. ” I love working on paper,” notes Gadiyar,” since it lets me let go off control and gives me the feeling of freedom.” This freedom is evident in the impression the artist’s works leave on the visitor, who feel emboldened to step into the composition and roam the surroundings themselves.
TOGETHER. is on view at The Yard, Flatiron South by appointment through mid-April. Please email curator Akeem Duncan to schedule a visit: email@example.com
““What makes the desert beautiful,’ said the little prince, ‘is that somewhere it hides a well…” ― Antoine de Saint-Exupéry, The Little Prince
The rich, fertile soil from which “Everyday Magic: Artistic/Gnostic Impulses,“ on view now at the National Arts Club on the south edge of NYC’s Gramercy Park, all began – as rich soil often does – with the consideration of what has been reclaimed to the earth and how it nourishes what comes after. The result of the combined forces of Rebecca Goyette and Jenny Mushkin Goldman, both of whom have cultivated significant artistic curatorial experience, respectively, in the NYC art world, “Everyday Magic” was given the right nourishment it needed to fully bloom into the rich and multi-layered experience that it embodies, welcoming visitors of all walks of life. On view from March 2- April 27th, 2021, the exhibition accepts guests via timed entry at the above link.
Show organizers Goyette and Mushkin Goldman, excited to embark on this joint quest to present an art exhibit engaging with themes around ‘magic’, envisioned this group show featuring over 20 artists as a platform for exploring aspects of magic and occultism, particularly through the lens of empowerment: seeking ways in which indigenous, femme/non-binary and queer practices in turn rise above and gain agency over colonial, patriarchal and gender-normative narratives. Mushkin Goldman noted this in her observation of how the exhibition has unfolded. “This is a diverse show rooted in many ways in a femme presence, or energy, a story that had to be told which isn’t the hegemonic dominant narrative but is still such a force in itself.”
Echoing the utterances of revered postcolonial critic Gayatri Chakravorty Spivak, a woman’s position in society is tenuous at best, and artistic voices of women from the Global South are further suppressed. “For the ‘figure’ of woman, the relationship between woman and silence can be plotted by women themselves,”(1) Spivak notes, revealing the truth that the voices who notice this absence are most acutely those being oppressed, rather than the oppressor. Voices absent from a Western-centric, patriarchal-oriented art history make their presence felt in this powerful exhibition, with something for everyone to connect with especially along the root themes of community, ritual and heritage, nature and the Spiritual. Perhaps what this fully realized show impresses most on the viewer is the power of the unknown, or the unseen, and how this wealth of intuitive ‘seeking’ on the part of the exhibited artists can reveal a wellspring of power, resilience, beauty, understanding, and love.
Two very different aspects of this exhibition make it especially unique: first, the timeline, as the show was intended to open early Summer 2020 and was pushed to this March due to the pandemic. Second, and more importantly, the wealth of this exhibit’s treasures lies in the rich array of cultural forces that propel it forward in the viewer’s imagination, as rituals, traditions, and magical elements span a range of heritage evident on a global scale. “In the exhibition, artists who transmute personal struggles through their art practice are in dialogue with those who have traditional magical and occult practices,” observes Goyette. “Afro-Caribbean spiritual traditions, South American traditions, South Asian traditions, Nordic traditions and more are reflected from the artists’ many places of origin.” As Mushkin Goldman reflects, “This show isn’t about one thing, because for every person (who visits) it is their own. We wanted to create (an exhibition that approaches these topics) from as many perspectives as possible.” In this vein, spiritual practitioners of all backgrounds can take away potent reminders of the diversity of occult practices the world over, with a body of evidence laid out in “Everyday Magic” like a cornucopia upon which visitors can feast to their heart’s delight.
Returning to the roots of the exhibition, Goyette remarks upon the artists who spoke to her as her approach to the show became fully realized. “When I saw artist Tamara (Kostianovsky)’s latest series tree trunk sculptures, her work(s) resonated with me because of their sense of ritual and alchemy. The metaphor of the rings visible in the tree trunks is powerful.” Kostianovsky’s practice of adapting her late father’s clothing into art installations provides a nuanced reflection upon her own roots and the tactile presence our loved ones exert even after their departure from our lives. Similarly, Mushkin Goldman encountered the works of artist L, and was mesmerized upon learning that each these jars presented in the artwork she encountered contained a multitude of spells. With themes of transmutation, alchemy, and transformation of trauma and life experiences into whatever meaningful form the artist conceives, the power of “Everyday Magic” lies in the agency exerted by individual – and collective – artists to challenge accepted narratives and subsume existing power structures.
In addition to the power of ritual present throughout the exhibit, the influence exerted by community and, alternately, by nature are both strongly felt presences emanating from the exhibition. Both Goyette and Mushkin Goldman commented on the power of nature’s inclusion in such work as installations by Lina Puerta, Alexis Karl and Elizabeth Insogna as placing nature, and in turn, touch and healing central to the visitor’s encounter when entering the exhibition’s center where these installations are located. In addition, many artists’ practices, either spiritually or artistically, formed nexxus points linking them to other artists exhibiting in “Everyday Magic”: revealing interconnected links between practicing artists who were engaging with spiritual approaches to art-making. Artists such as Jesse Bransford, Genesis Breyer P-Orridge, Alexis Karl and Courtney Alexander had all encountered one another in various ways prior to the exhibition’s unveiling, while artists such as Elizabeth Insogna and Kay Turner collaborate to produce performance work and art installations. Courtney Alexander’s “Offering to God Herself” presented the opportunity for gallery-goers to encounter her presence, embodying divinity, through a communal offer of deference, love and respect to the Artist.
Artists such as Genesis Breyer P-Orridge are known among audiences for the incisive, bold and alchemical work they created, while other artists bring their own unique perspectives to the ideas of alchemy and transformation to bear. Goyette highlighted the works of Abichandani and Najm as particularly powerful demonstrations of art’s ability to express artistic impulses that transcend societal pressures and expectations. Goyette reflected on the power these artists’ work possesses and how it upends societal norms. “Jaishiri Abichandani’s work alters views of Hindu goddesses by subverting patriarchal structures, incorporating people she knows into sculpture portraits in her depictions of these goddesses, including feminist and LGBTQ+ artists and activists. She also uses self-portraits in her work, as sculpture self-representation. Her work takes a feminist approach, challenging how goddesses are depicted in the canon of Hindu mythology, and how sculptures can be made to play with taboo. Meanwhile, Qinza Najm engages with Muslim traditions of her native Pakistan, particularly how patriarchal ideologies affect women. Her interactive installation, “Pleasure and Veil” utilizes spiritual (hijab/head covering) and sexual (Nara-trouser strings) textiles collected over the past 3 years from Muslim/Jewish communities (women, minorities and LGBTQ+ community) in the U.S. and Pakistan to explore the sacred and forbidden aspects of sexuality. In Pakistan, it is considered shameful for women to show or allow others to touch their Nara. Najm asked women close to her to reveal their Nara, and when she did, the women released shame and personal narratives. She asks viewers to engage with her work, gently touching a chosen Nara from her installation, in magical feminist solidarity to release shame. Both Abichandani and Najm engage ideas of what is taboo in dialogue with religion.”
Mushkin Goldman offered the works of Lina Puerta and Sahana Ramakrishnan as avenues by which visitors can engage with meaning around sexuality, feminism, vulnerability and fertility. “Lina Puerta explores the intersection between synthetic and natural, commenting on both consumerism and life’s fragility. Sahana Ramakrishnan in turn reflects on ideas of fertility as alchemy and means of transformation.” Artists use a range of synthetic and natural materials, of abstract and figurative approaches, to all reach the core of a reality which we can grasp through experience and intuition, rather than research and academia. “Everyday Magic” is an exhibition about the truths we grasp, the experiences we know, and the underlying hidden links that bring us back together as spiritual beings and root us to natural forces who remind us of who we are.
“Everyday Magic:Gnostic/Artistic Impulses” is on view to guests who RSVP via the show’s website through April 27th, 2021. The exhibit is on view at the National Arts Club, 15 Gramercy Park S in New York, NY. The show’s organizers Jenny Mushkin Goldman and Rebecca Goyette can be reached for sales inquiries or exhibition specifics via their respective emails, Jenny at firstname.lastname@example.org or Rebecca at email@example.com.
Founded in 1898, The National Arts Club is a 501(c)(3) nonprofit with a mission to stimulate, foster, and promote public interest in the arts and to educate the American people in the fine arts. Annually, the Club offers more than 150 free programs to the public, including exhibitions, theatrical and musical performances, lectures and readings, attracting an audience of over 25,000 members and guests. For a full list of events or to learn more, please visit nationalartsclub.org.
Spivak, Gayatri. “Can the Subaltern Speak?” Basingstoke: Macmillan, 1988.