News
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Efrem Zelony-Mindell
Sara Cwynar: Rose Gold
Colors coded in commodity and consumption. Overtone, undertone. Primary, secondary, tertiary color. Contrast layering; execute the plenty of Sara Cwynar's compositions. Her show Rose Gold at Foxy Production in New York is of collected knickknacks caricatured through a galaxy of assemblage and whatnots. Discourse, communicative, assimilates dense environments. Peculiar lists collaged and absorbed photographically. You
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Efrem Zelony-Mindell
Mark Dorf: Transposition
What kinship exists between language and nature? Science and art are comorbid in wonderful and embellished community. There is a complex, an infinite reproduction of space and natural world. Fabricated environments obscure origins; finding beginnings is impossible. What is reality? Break down, unrecognizable. If the plausible is captured, its execution is realized in the commitment
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Efrem Zelony-Mindell
Ryan Oskin: Subdivision
Forming structures driven deep into the soil. Sounds and steel coerce a skeleton into glass and sky. Not quite flight but levitation. Architecture is formed on the backs of people, not wings or birds, but bags and pounds. Areas divulge into treatments and changes. Blue of prints and skies formulate sites and precision. Bungee’s elastic
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Efrem Zelony-Mindell
Kelly Smith: Bring Us To Death
Words by Kelly Smith, edited by Efrem Zelony-Mindell My work is about the relationship between life and death. Feeling anxious and trapped. Looking for an escape and not really finding resolution. I’ve always had an interest in death - seeing beauty in what’s often overpowered by fear. That, in combination with depression and anxiety, has
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Efrem Zelony-Mindell
Stefanie Moshammer: Don’t Stop Me Now
“Tonight I’m gonna have myself a real good time. I feel alive and the world, I’ll turn inside out.” —Freddie Mercury, Queen Exploring happens in layers. Photography is a coincidence. Get lost. Find something new. Yield results in new friends and unusual lands full of architecture and color. Stefanie Moshammer uses the camera as a
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Efrem Zelony-Mindell
Anastasia Samoylova: m o z a r t
Accuracy is not as quick as wit. Profound safari accumulates the glorious mess of Anastasia Samoylova. She is in depth and sight; the works are consummate. Supreme garbage, splendid topography, succinct reactions stimulate fabricated diversities. Planes of petulant shapes and iconography. The familiarity of something natural, but not quite. Quick and round, the formulation of
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Efrem Zelony-Mindell
Bryson Rand: Some Small Fever
The body’s gesture is dumbfounded. Great lakes of whites and grays liven the flesh of men. Their paths are coarse; latent in potential beneficiaries of mutual desires. Without absolute copulate their bodies become bellows and light. They’re pieces and parts, concocted coercions congruent and charmed. Bryson Rand is sly. One smile goes a very long
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Efrem Zelony-Mindell
Katherine Hubbard: Stages & Others
Fields of vision are taken for granted both in eyes and cameras. Space occupies. Voluptuous volume. Pungent periphery. Lively space between heads and ceilings; all too often invisible. Stages of lively performance are broad and commiserate on cockled calculates. Quick, nearly enough to be fleeting, the world dissolves. Interactions are not without reflection or capture.
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Efrem Zelony-Mindell
May Lin Le Goff: Tada
Photography can be as much about constructed image as it is about the story it communicates. May Lin Le Goff moves past first impressions. Identities in her works are not removed; they are looking to be filled. Familiar features are obliterated. The magic of an effaced human is present. Le Goff pastes, cuts, and tears