Structure and Imagery

Resort, 2018, oil on wood, glazes ceramic frame, 18 x 13 inches I recently ran into sculptor/painter Dasha Bazanova as we were making the rounds at Red Hook's annual open studios event. I first became aware of Bazanova's work in 2012 and, soon after, met this integral fixture of the thriving Brooklyn (Bushwick) art scene. In addition to making and actively exhibiting her on work Bazanova is a great supporter of New York's art scene, curating recent exhibitions as After Life at Linden Hill Cemetery as part of 2018's Bushwick Open Studios and Ceramos 2 a group exhibition mounted this year at Space 776 . This month Bazanova opens her solo exhibition, Choices hosted by the Brooklyn College Collective . The exhibit will be on view from November 23 - 29, 2018 with an opening reception for the artist held on November 23 at 6 PM. Sasha, 2018, ceramic, 3 x 2 x 2 inches Riding a Bear, 2016-18, oil on wood, glazed ceramic frame, 9 x 8 inches Dasha B...

 Vincent Como,  "The Temptation to Exist 005" (2013, Acrylic on canvas with wooden shelf, 22 x 14 x 29 inches / 56 x 36 x 74 cm)   Photo courtesy of Minus Space, 2018 Installation view of Subvert City: John Beech, Sharon Brant, Vincent Como, Michelle Magot and Lael Marshall Photo courtesy of Minus Space, 2018 From the Press Release: November 3 – December 22, 2018 Participating Artists: John Beech ,  Sharon Brant ,  Vincent Como ,  Michelle Magot ,  Lael Marshall MINUS SPACE is delighted to present  Subvert City , a group exhibition conceived by gallery artist Vincent Como. The exhibition brings together five artists of several generations –- John Beech, Sharon Brant, Vincent Como, Michelle Magot, and Lael Marshall -– who are engaged in varied and distinct forms of painterly heresy. The artists presented in  Subvert City  honor the modern painting canon by undermining, oversaturating, or inverting it. Employing...

Gilot in Vallauris, 1948 Photo: Willy Maywald Francoise Gilot Interview on CBS Sunday Morning, 2017 Abstraction of a Nude, 1945 Idol, Child and Tulips, 1991 Gilot with Picasso and Claude, 1952 by Boris Lipnitzki "It was a catastrophe I didn't want to avoid" Gilot on her relationship with Pablo Picasso Francoise Gilot Self Portrait (Figure in the Wind) 1944 "In the work of all the generations of painters who were like Picasso, the figure is so huge, it’s all over the painting,” Françoise Gilot explains. “Whereas me, I have turned it the other way around. The figure is lost in a universe that is very much bigger." Gilot with second husband, Jonas Salk Gilot in her studio and the photograph used for the cover of the book, The Woman Who Says No:  Françoise Gilot on Her Life With and Without Picasso by Malte Herwig Gilot and Picasso by Robert Capra, 1948 Theseus, 1963 Portrait in Black (...

Diana Copperwhite Curated by   Chris Clarke   and   Fiona Kearney   in association with IPIC, the Irish Photonic Integration Centre at the Tyndall Institute, UCC. From the powerful LED statements of Jenny Holzer to the nuanced exploration of the spectrum in paintings by Mark Joyce, PRISM presents artworks where light is both material and subject. PRISM will provide audiences with a fascinating insight into the ways in which light is both visible and invisible in our everyday lives, and how it informs our understanding of ourselves and our communications with others.  Featuring work by: Polly Apfelbaum, David Batchelor, Alan Butler, James Clar, Diana Copperwhite, Jenny Holzer, Mark Joyce, Brigitte Kowanz, Dennis McNulty, Emer O’Boyle and Grace Weir December 1, 2018 - March 10, 2019 The Glucksman University College Cork Ireland T12 V1WH

From David Pollack's 7 Trees, Ink on Paper, 2018. Requiem for a Friend by Rainer Maria Rilke (In memoriam Paula Modersohn-Becker) I have my dead, and I have let them go, and was amazed to see them so contented, so soon at home in being dead, so cheerful, so unlike their reputation. Only you return; brush past me, loiter, try to knock against something, so that the sound reveals your presence, Oh don’t take from me what I am slowly learning. I’m sure you have gone astray if you are moved to homesickness for something in this dimension. We transform these things; they aren’t real, they are only the reflections upon the polished surface of our being,      I thought you were much further on. It troubles me that  you  should stray back, you, who have achieved more transformation than any other woman. that we were frightened when you died. . .no; rather: that your stern death broke in upon us, darkly, wrenching the till-then from the ever-since...