Mind Over Medium

 

Sarah Charlesworth, Crystals, 2011. Fuji Crystal Archive Print mounted and laminated with lacquer frame, 41 1/2” by 32” framed. Edition of 8. (image courtesy of Susan Inglett Gallery)

Sarah Charlesworth, Crystals, 2011. Fuji Crystal Archive Print mounted and laminated with lacquer frame, 41 1/2” by 32” framed. Edition of 8. (image courtesy of Susan Inglett Gallery)

Sarah Charlesworth: Available Light

March 8-April 14, 2012

Susan Inglett Gallery

522 West 24th Street

New York, New York

Prisms and other optical instruments perform an illuminated duet with simple, household items in Charlesworth’s studio. The images in Available Light are illusory hijinks, manipulating reflections to obscure object and pattern. Classic compositions with water in a bowl or a single candlestick stir thoughts of Man Ray’s still lifes or William Eggleston’s incessant search for beams of light. The new work is playful and mesmerizing.

Sarah Charlesworth, Magical Room, 2011. Fuji Crystal Archive Print mounted and laminated with lacquer frame, 32” by 41 1/2” framed. Edition of 8. (image courtesy of Susan Inglett Gallery)

Sarah Charlesworth, Magical Room, 2011. Fuji Crystal Archive Print mounted and laminated with lacquer frame, 32” by 41 1/2” framed. Edition of 8. (image courtesy of Susan Inglett Gallery)

 

 

Richard Forster, Incoming sea's edge on fourteen consecutive occasions at random time intervals Saltburn-by-the Sea, Jan 5 2010; 11:30am-11:37am One of fourteen drawings in sequence. Graphite and acrylic medium on card, 45 x 30 cm page and image size. Photograph John McKenzie

Richard Forster, Incoming sea's edge on fourteen consecutive occasions at random time intervals Saltburn-by-the Sea, Jan 5 2010; 11:30am-11:37am One of fourteen drawings in sequence. Graphite and acrylic medium on card, 45 x 30 cm page and image size. Photograph John McKenzie

Richard Forster

January 21-May 19, 2012

FLAG Art Foundation

545 West 25th Street

New York, New York

Richard Forster is presenting three series of his meticulous pencil drawings at FLAG. His photorealist images are centered on tropes commonly found in photography, including pastoral nudes and seascapes. There are also twenty-four drawings from an archival video that observe the construction of the visionary housing projects in Dessau, Germany in 1926. Forster’s work revolves around place and the historical cues that allow meaning to accrue. He realizes the strength of retrospect, linking the glory of architectural innovation with the value of his upbringing on the sea that inspired the series of the same subject. The nudes are situated in the American tradition of the genre paintings. These idyllic images are simultaneously grounded in the strength of their surroundings yet appear so fantastical, so delicate, they could easily dissolve without a trace.

Richard Forster, American Pastoral / Ostalgie Pattern with Tape, 2011. Graphite, acrylic medium, and watercolor on Bristol Board, 11 4/5 x 16 7/10 inches. Courtesy the Artist/Ingleby Gallery, Edinburgh

Richard Forster, American Pastoral / Ostalgie Pattern with Tape, 2011. Graphite, acrylic medium, and watercolor on Bristol Board, 11 4/5 x 16 7/10 inches. Courtesy the Artist/Ingleby Gallery, Edinburgh

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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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