Andrew Edlin Gallery, 134 Tenth Ave., NYC (bt 18th & 19th St)
“This truth is that if it hadn’t been for Paul Edlin (1931 - 2008), this gallery never would have existed… Born in 1931 with a profound hearing loss, Paul Edlin never found a steady career path but had always been interested in art. Finally, in 1972 at the age of 41, he enrolled in art classes over a period of about ten years at the Art Students League and New School, where he was mentored by renowned American artists Will Barnet and Henry Pearson. In the early 1980s Edlin began incorporating postage stamps into his artworks and by the 90s was using them exclusively, choosing them from those of many nations for colors and visual texture. He sliced them into tiny pieces, which he used like mosaic tiles, gluing them on museum board until his compositions were finalized. His scenes of people and mythological figures, animals and objects suggest a mystical personal cosmology. His 16 x 20 inch collages could take as long as three months to complete, and he worked diligently every day, alone in his one-room New York apartment.” - Andrew Edlin
opens tonight, Thurs, Jan 23, 6-8p:
Pace Gallery, 510 W25th St., NYC
Early in Sol LeWitt’s career, the cube became the basic module for his artistic inquiry—“the grammatical device”—from which his work developed. LeWitt used the cube to create structures in a myriad of variations, usually in series, over the course of his more than 40-year career. This exhibition brings together seven structures from 1991 as a complete series.
Marianne Boesky Gallery, 509 W24th St., NYC
Avini uses the subjective experience of his Iranian heritage as a platform from which to explore more collective notions of memory and the significance of imagery. Sourcing bits and pieces of simple images - the curve of a lock of hair, for instance - Avini reduces them to their essential forms until their origin is diluted and the fluidity of paint is emphasized. In these palimpsestic hybrids, Avini’s overwriting obstructs and complicates the language of the traditional designs, both in a visual and conceptual sense. - thru Feb 15
“City of Sociopaths”
currently on view in “Space is the Place" at:
BravinLee Programs, 526 W26th St., NYC (#211)
“The Hobbit was my first introduction to fantasy, followed shortly by Lord of the Rings, and R.E. Howard’s Conan, Frank Herbert’s Dune books, H.P. Lovecraft, Piers Anthony,Terry Brooks, etc. Film hit me in a parallel fashion: Star Wars and the Empire Strikes Back, Hawk the Slayer, The Sword and The Sorcerer, and that shitty 1980 Flash Gordon movie with the Queen soundtrack. All of these things gave me a basic language, a way to analyze and categorize the world and my experiences. As I grew into adolescence—and, past that, into whatever passes for adulthood—I drifted away from these things and tried to become more “mature”. However, the language was imprinted on my brain and I always filtered my experiences through the crude ideas of good v. evil. hero v. villain, antagonist v. protagonist. I always saw myself as the protagonist in these endeavors but my low self-esteem made me a superhero without super powers.
My work didn’t really start to take shape until I allowed myself to use this specialized language, to begin to build childish parodic myths around my predictable adult experiences. Naturally, these events had to unfold in a world—a campaign setting to use the D&D vernacular—so I invented Refractoria—my imaginary autobiographical world. After that was establishing, all of the drawings came with greater ease and clarity.”
- Jeffrey Beebe (jeffreybeebe.com)