Altered Universe

 

Melanie Willhide, Little Boy Blue, 2000, 2011, inkjet print, 30" x 28"

Melanie Willhide, Little Boy Blue, 2000, 2011, inkjet print, 30" x 28"

Melanie Willhide: to Adrian Rodriguez with Love

February 23-March 24, 2012

Von Lintel Gallery 

520 West 23rd Street

New York, New York

Sometimes an altercation, a conflict, is just what an artist needs to push their practice. Willhide’s computer was stolen and all her photographs erased from her hard drive. When the technology was salvaged, she made an attempt to recover her images. The retrieved files were corrupted, staccato moments from her past, tweaked by neon hues and mirrored forms. This series presents photographs that she expanded upon or created anew, inspired by the tricks life plays quite naturally on us.

Melanie Willhide, Untitled (the Jack Benny House #2), 2011, inkjet print, 30"x 28"

Melanie Willhide, Untitled (the Jack Benny House #2), 2011, inkjet print, 30"x 28"

 

Criminy Johnson, clay county, 2010, oil on canvas, 40" x 30"

Criminy Johnson, clay county, 2010, oil on canvas, 40" x 30"

Criminy Johnson: Dreaming Without Sleeping 

February 24-April 20, 2012

Active Space, curated by Robin Grearson 

566 Johnson Ave

Brooklyn, New York

Criminy Johnson’s characters are content in their isolation, whether they’re sitting on a log with frogs or in line at a hardware store. The viewer interrupts their moment of contemplation. These are uncomfortable moments, amplified by the figures’s despondent eyes and exaggerated limbs. They summon Alice Neel’s portraiture with a sharper emphasis on pessimistically unapproachable subjects.

Criminy Johnson, basement, 2009, oil on canvas, 36" x 24"

Criminy Johnson, basement, 2009, oil on canvas, 36" x 24"

 

Maximilian Toth, Who Am I,  2011, Graphite, grease pencil, oil, black ground on canvas, 213.4 x 252.7 cm

Maximilian Toth, Who Am I, 2011, Graphite, grease pencil, oil, black ground on canvas, 213.4 x 252.7 cm

Maximilian Toth: War Party

February 25-March 24, 2012

Fredericks and Freiser Gallery 

536 West 24th Street

New York, New York

In “War Party,” Toth uncovers the paradox of relentless ambition. As his adolescent subjects partake in games like cow-tipping and Red Rover, they embody the shameless violence of warriors. With ferocious physicality, these team sports degrade into a battle of bodies. Toth emphasizes the outlines of these figures, simplifying faces and filling empty, two-dimensional silhouettes with chaotic marks. Actions are stronger than words at the “War Party,” and Toth illustrates that even teamwork can be traumatic. 

Maximilian Toth, Cowtipping,  2011, Graphite, grease pencil, oil, black ground on canvas, 228 x 288.3 cm

Maximilian Toth, Cowtipping, 2011, Graphite, grease pencil, oil, black ground on canvas, 228 x 288.3 cm

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About Lynn Maliszewski, Contributor-at-Large

Lynn Maliszewski is a freelance writer based in Brooklyn, New York. She curated and composed work for ArtWrit, BOMB Magazine, HAHA Magazine, Hyperallergic, LatinLover, Modern Painters, No.3, Whitehot Magazine, and Whitewall. She is currently the Contributor-at-Large for ON-VERGE, an arts journalism blog sponsored by CUE Art Foundation, until 2013. She hosts her own blog, Contemporaneous Extension, as a compendium of aesthetic interests, archived exhibitions and artists, and uncensored inferences. She has contributed editorially to the College Art Association, the Bushwick Film Festival, Like the Spice Gallery, and the Museum of Modern Art.
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