Part I of this conversation can be found here.
Max Razdow is a practicing artist based in NYC.
Max Razdow, Face 9, 2011. Pen, ink, xerox transfer on paper,9 x 7 inches
LM: The symbols you work through function in a similar way, often recurring in a number of drawings in the series with slightly varied connotations. Are there any symbols you feel particularly strongly about? Continue reading
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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)
March 8-April 14, 2012
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)
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
January 21-May 19, 2012
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
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Lebbeus Woods, "4 Cities & Beyond, Region R (2), 12," 1983, Colored pencil on stock paper, 11.5 x 7.5 inches
February 24-April 7, 2012
515 West 26th Street
New York, New York
This exhibition presents the intricate early drawings, predominantly from the 1980s, of Lebbeus Woods’s utopias. His architectural drawings place the structures within a breathing world with an emphasis on their social and political utilities. Whether he is investigating how architecture can transform social hierarchy through his A-City projects or reinventing hubs like Paris or Berlin, every model has a sci-fi fantasy layered into the rendering. As director of the Research Institute for Experimental Architecture and a professor of architecture at The Cooper Union, Woods no doubt continues to solidify his dreams of the future.
Lebbeus Woods, "A-City: Sector 1576N (Aerial)," 1986, Ink on tracing paper on board, 35.625 x 36 inches
Jessica Stoller, "Untitled (Willendorf)", 2011, porcelain and china paint, 9" x 9" x 8"
Jessica Stoller: Lend Me Your Eyes
March 9-April 7, 2012
89 Franklin Street
New York, New York
Although Jessica Stoller has been featured extensively in group shows, Hionas Gallery is indeed hosting her first solo exhibition in New York. Lace draping, where porcelain-soaked cotton clothes decorate a figure then deteriorate to leave only the stiff ceramic after being fired, is the basis of her delicate figurines. Her female statuettes haggle with beauty and disregard identity. Stoller crosses a new threshold in her practice with the incorporation of an explicit vanities still life that melds modern luxuries with religious and historical symbols of excess. Pastels and pomp invade dark corners that stink of torture, sexism, and overwrought expectations society has of women.
Jessica Stoller, detail from "Selfless/Selflesh", 2012, porcelain, china paint, mixed media. 27" x 17" x 27"
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