NEW ORLEANS, LA.- Jonathan Ferrara Gallery presents Wrong Sounding Stories, New Paintings by Adam Mysock.This is Mysock's second solo show at the gallery, following his sold-out show Mythconception in April 2010. The exhibition is on view through July 20, 2011.
Deborah Brockus, director of BrockusRED, has choreographed DUST: Permutations of the Unknown In collaboration with visual artist Richelle Gribble, and composers Peter Askim and Zac Greenberg for three performances at Ivy Substation.
Nikki Rosato of Washington, D.C., uses road maps to create fascinating faces. In “Connections” and “Couple, Boston, Ma.,” her slightly elevated, cut-out maps placed against a white background form human faces — in the case of the latter, a man and woman looking at each other. Like the locations on maps, these humans are connected yet separate from one another.
Much like the bird experts who were called in to make sense of the turkey video on radio and television news segments, the artists in Spontaneous Emergence of Order use scientific rigor to deepen our understanding of the natural world and humans’ relationships to it. For Tanya Chaly and Richelle Gribble, this often involves processes not so different from those used by field researchers to catalogue and categorize flora and fauna, with particular attention to how both have been impacted by human behavior.
Formerly incarcerated women paired with more than 30 artists to portray the challenges woman in the prison system face, in an exhibit opening Saturday (Jan. 19) at Tulane University's Newcomb Art Museum.
Commissioned by the McNay from New Orleans-based multimedia artist Anastasia Pelias, the site-specific concrete sculpture mama aims to offer “a place for people to be, to think and to meditate.”
Multimedia artist Richelle Gribble presents “The Nomadic Artist: Traveling the World with Artist Residences."
Artist Skylar Fein’s installation Remember the Upstairs Lounge (2008) commemorates the 1973 arson at the Upstairs Lounge, a popular gay bar in the French Quarter, while continuing the conversation about ongoing violence against LGBTQ communities.
Richelle Gribble’s exhibition, ‘Anthropocene’, took place at the Jonathan Ferrara Gallery (New Orleans, LA) between May and July 2018. With a strong interest in environmentalism, the artist examines human impact on nature and the biological consequences of human influence. Gribble’s highly conceptual work includes painting, drawing and sculpture.
"Anthropocene," a solo exhibition by Richelle Gribble, explores the concept of man's impact on and relationship with the environment, while connecting humans to nature through her tactile, colorful, and multi-layer works.
Fractured Architecture is the domain of an young up-and-coming Tucson artist: Jenny Day, whose "Dwellings," a glittery acrylic that has building fragments flying hither and yon.
Rachel Gribble's publication in the Journal of Space Philosophy.
The reflective aluminum surface of Margaret Evangeline’s “Sfumatoshinoclysm,” riddled with faux bullet holes, substantiates Sumrall’s claim that Evangeline is “one of the only artists who can get away with glitter.”
Gina Phillips grew up in Richmond, Kentucky, but has lived in the lower 9th Ward of New Orleans since 2004. Last summer, she was awarded a two-week artist residency in Briant, France. While painting en-plein-air, she was struck by the similarities of the Kentucky landscape to her new French environs.
If there were such a thing as the color “candy-apple yellow,” Peter Sarkisian nailed it in his blazing wall reproduction of a Ferrari roaring around, crashing and squealing with lots of noise and action.
I have known and loved Lisa Sanditz’s paintings for more than a dozen years, so their cadences and syncopations are familiar to my body. If you happen to be new to their magic, monitor your responses closely: their meanings and pleasures reveal themselves in waves.
The Taubman Museum of Art is pleased to present two major projects by New York-based sculptor Paul Villinski (American, born 1960), an artist known for his site-specific installations and transformative use of found materials: the large-scale sculpture titled Passage and the solo retrospective Farther, highlighting several new works made specifically for the Taubman Museum of Art.
Paint is artist Bonnie Maygarden’s main medium. Through paint, she also explores other media, such as digital photography and sculpture. Her vividly colored works look like they are generated digitally, but are completely handmade. Some have a trompe l’oeil three-dimensional quality, yet they are painted on a flat canvas.
New Orleans plastic surgeon and artist Ruth Owens was born in Augsburg, Germany in 1959 to a young German woman and a black American GI, and her new paintings in the show Conspiracies at Barrister's Gallery were inspired by childhood memories and old photos.
Lisa Sanditz, whose palette is generally vibrant if not supersaturated, delivers a gem with “Cleared Lot” (2010), a 16 x 20 inch painting depicting a muddy-gray heap of earth and garbage out of which grows a spunky tree at an impossibly rakish angle.
Elliott Green’s show at Pierogi is an eye-opener. The dozen ambitious canvases exude enormous confidence and verve, and more than most contemporary abstract painting, bring the once-radical genre of abstract-expressionism back to its original roots.
Green has channeled the landscape paintings of the early Northern Song dynasty — when painters took to the mountains to escape the turmoil of a political order uneasily shifting from aristocracy to bureaucracy — along with the fantastical landscapes of the Sienese painter Ambrogio Lorenzetti.
Are there more coincidences in this city than elsewhere? It often seems that way, as evidenced by three abstract painting shows on Julia Street that remarkably, yet unintentionally, complement each other via surprising atmospheric and calligraphic synergies. In fact, Nola artist Anastasia Pelias' new Sisters oil stick paintings may be her most deftly atmospherically gestural works to date.
Skylar Fein´s installation “Remember the Upstairs Lounge” walks visitors right through the swinging doors of the Upstairs Lounge, a popular gay bar in New Orleans’ French Quarter that burned down with everyone inside, killing 32 people and injuring dozens more in 1973.
When the vast majority of our information is endlessly transmitted to us from behind a glass or hard plastic screen, it’s easy to assume that this platform is the best and even the only way to view multimedia content. Peter Sarkisian’s recent video works at Jonathan Ferrara Gallery, however, break through these flat, confining surfaces to which video seems so firmly attached, and cleverly jut out into a space—into real life—where they don’t usually belong.
Green is a wizard with paint – he applies it in different ways, scrapes and pulls it up, all seemingly without effort. He can have the grooved brushstroke hold two colors, become dry as it is pulled across the surface, or stay lush and yummy.
Birds, butterflies, flying machines, and a sinister, wickedly abstract belt made of empty liquor bottles -- Paul Villinski's works are one mechanized step away from chaotic, destructive motion
After this Sunday’s massacre of 50 LGBTQ people in Orlando, I flashed back to the day I wandered into Skylar Fein’s “Remember the UpStairs Lounge” (2008) at the Prospect.1 biennial in New Orleans. It was installed at the city’s Contemporary Arts Center and invited you down a long saloon-like hallway into a gallery of artifacts, black-and-white images, light boxes, and a black corner booth showing a video.
It could have been silly — art about art history has been the basis of too many trite exhibitions in recent years — but this tart expo curated by Matthew Weldon Showman is hysterical in the most catalytic sense of the word.
The ceramic artist, Dirk Staschke, pays particular attention to detail, which requires more investigation. That’s true in his “Dirk Staschke: Nature Morte” exhibit now at The American Museum of Contemporary Art in downtown Pomona.
Anastasia Pelias reviewd by Art Houston magazine.
Paul Villinski uses daily objects such as gloves and cans to create his delicate airy sculptures. With swirl of butterflies and wings sculptures, he expresses thematics like addiction, recovery and environment.
It is always around but you can't always see it. Its presence ebbs and flows; it can be big and bloody, or barely visible and pale as driven snow. The moon is linked to madness and witchcraft--as well as to women, so it fits neatly into Monica Zeringue's Goddesses and Monsters series where female figures mingle with lunar mysticism.
The Hospital commissioned an art installation by New York sculptor Paul Villinski, whose soaring clusters of butterflies—forged from recycled cans—inspire feelings of beauty, hope, and renewal among those who view his work.
In Marna Shopoff's paintings and drawings at Jonathan Ferrara Gallery, the mysterious interaction of light and space creates an architectural quality that is inviting yet elusive, as if dwellinglike spaces appeared within mirages of colliding rays of refracted light that Shopoff had flash-frozen.
“The idea that somebody decided her life was over seemed like the ultimate last judgment,” says Adam Mysock, in an artist video. “As the shooter, you are ultimately taking on a godlike role determining when somebody is good or bad. For me, the first phenomenon I had experiencing such an event was actually watching ‘Bambi’ when Bambi’s mother gets shot."
The title of Margaret Evangeline’s show was An Injured Armory. In this body of work, the artist, whose son served in the Iraq War, has turned to allegorical protest rather than specify the particulars of an actual historical conflict.
This is Dirk Staschke’s second exhibition with Winston Wachter Gallery in Seattle (the gallery also has a space in New York). Executing Merit (March 3 – April 15, 2105), a paean to the craftsmanship and recognition of death as part of life from the vanitas paintings of the 16th and 17th centuries, could easily have been consigned to “so what category.”
Jenny Day is a young artist who investigates human depredations upon the land. Her medium is paint, not digital prints, and she's closer to abstract than realist.
The Portland artist is showing nine works, all in the elaborate style of still-life paintings, complete with ornate frames. The backs of the works reveal the more workmanlike structure beneath the finery.
The South is every bit as much a part of Margaret Evangeline's work as, say, a rifle or sheet metal, but the Baton Rouge native is inexplicably unknown in her hometown.
Travel and place have long factored into the narrative paintings, prints, and sculptures of St. Louis-born, New York-based artist Lisa Sanditz. In recent years, she has turned her attention in large part to the globalized landscape. From urban Chinese factories and American Midwestern crop circles to her parents’ suburban community in St. Louis and her own backyard in upstate New York, the artist explores the astonishing and often compromised relationship between the built environment and the natural world.
Throughout her career, Evangeline has always been more focused on the process than on the end product. In her paintings — whose networks of individual brushstrokes give the impression of watery currents, or cellular matrixes, or bursting camellias — she applies each line a step at a time, without forethought or correction.
The work of Peter Sarkisian, a multimedia and video artist based in Santa Fe, was clearly seen as a highlight of Art SV/SF. “Robot”, (2013) a steel and aluminium, 3D-printed robot that displays a film on its belly, was featured on the the fair's website.
Day paints recognizable trees and skies and hills in her northerly landscapes but she simplifies them into geometries. In "Strike Anywhere," the biggest of her acrylics on canvas in the "Four to Watch" exhibition at Davis Dominguez, her pines are scrappy green triangles on sticks.
A rising star in the art world has transformed maps of Cape Ann into silhouettes of two residents. Nikki Rosato, a recent graduate with a master’s degree from The School of the Museum of Fine Arts in Boston, will premier her works at an upcoming watershed show in Rockport.
Bonnie Maygarden’s canvases look like they’ve come right out of the digital printer, but in fact are all meticulous hand-painted abstract representations. As a recent gradate of Tulane’s MFA in studio art, Maygarden earned her bachelor’s degree at Pratt Institute in New York, and was classically trained in photorealism before extending this technique to mimic “reality” in less traditional ways.
For some of the artists participating, gun violence is more than an abstract social issue, such as Deborah Luster whose mother was shot five times, and Adam Mysock, who, in 2004, witnessed through the window of his Central City home, the murder of an unarmed 16-year-old.
Painter Bonnie Maygarden wants viewers to question their perceptions and expectations. The New Orleans-born artist uses paint to create illusions, approaching the medium as “both light and mirror,” according to her artist statement.
Study after study warns that television warps the brain, zaps our attention spans, makes us fat and turns children into violent, brand-obsessed zombies. Peter Sarkisian notices the effects of screen time whenever his 8-year-old son returns home after watching a three-hour Nickelodeon marathon at a sleepover with his friends. "He speaks and acts differently," Sarkisian says. "It somehow affects his aptitude for everything else."
Adam Mysock included in the Volta show.
Review of Anastasia Pelias' work in the New Orleans Art Review.
Elizabeth Kleinveld and Epaul Julien's photographic versions of paintings from art history reflect their concerns about ethnic stereotyping seen in some news reports after Hurricane Katrina, but they lend themselves to a variety of interpretations.
Elizabeth Kleinveld and Epaul Julien are undertaking their own method of time travel. The two artists, working together under the moniker E2, have been reproducing iconic paintings from history photographically with not-so-slight alterations.
Enter Skylar Fein, an ideal artist for the Internet age, who gleefully nabs a fact here and a rumor there to create quasi-nonfictional environments. For “The Lincoln Bedroom” he has built, right inside the gallery, a facsimile of the Springfield, Illinois, general store run by Joshua Speed, the scion of a wealthy Kentucky plantation family.
The sexuality of America’s 16th president, Abraham Lincoln, has been scrutinized by historians for years. Now, artist Sklyar Fein is delving even deeper into the possible queer identity of the late political figure through a large-scale art installation.
So much of color field painting—the work of Ellsworth Kelly, Kenneth Noland, Mark Rothko—has been read in terms of purity of expression, an attempt to grasp sublimity through color. Despite its critics past and present, the aesthetic ideals continue to resonate today, as seen in Anastasia Pelias’ show “Ritual Devotion” on view at Octavia Art Gallery.
Nikki Rosato crafts delicate figures from the webs of incised maps. Made by painstakingly cutting away landmasses from between skeins of roads and waterways, Rosato’s fragile portraits echo the body’s circulatory systems but also the airy intricacy of paper lace.
Gina Phillips' show, “I Was Trying Hard to Think About Sweet Things,” is just as charming as its title. A tall, impressive tapestry framed in vintage floral bed sheets signed “Frau Johnson” sits at the Ogden Museum of Southern Art's entrance, serving as a gateway to the exhibit.
In Bonnie Maygarden's Virtuous Realityshow at the Front, the ephemeral aura of techno culture is recreated in painterly abstractions that serve as meditations on the collision between art history's traditional hand crafted values and the weird new world of synthetic imagery that exists all around us.
Jennifer Day's large landscape acrylic, "Time is Nested and Layered" is shown at the TMA Bienniel exhibit. Day's painting depicts the memories that belong to a piece of land.
Neurotic map-rollers and Nikki Rosato would not get along. While some people cringe at the thought of a creased map, Rosato takes pleasure in dissecting the maps, carefully cutting away the meat of the map until just the skeleton remains.
Sanditz’s paintings offer a subjective view of cultural and economic situations in the United States and abroad. She has shown work at solo exhibitions at ACME Gallery in Los Angeles, Rodolphe Janssen Gallery in Brussels, Belgium, and CRG Gallery in New York.
Bonnie Maygarden, a first year MFA student at Tulane, is a trickster- a breaker of rules. Her art intentionally leads the viewer astray through tromp l’oeil and illusion, sometimes obscuring flatness and other times confusing texture.
Margaret Evangeline featured as a sculptor in an article by ARTnews.
In "Goddesses and Monsters," Monica Zeringue constructs her own visual legend using elements of Greek and Roman mythology—mostly the labors of Hercules—as departure points for her signature self-portraits.
Go to any major museum and you see art based on mythology, from the Renaissance to modern times. Nobody knows why. in Goddesses and Monsters at Jonathan Ferrara Gallery, Monica Zeringue’s spectacular graphite drawings - nude self portraits of the artist in various mythic guises - may offer some clues even as they evoke contemporary performance art.
Paul Villinski's work featured in the Alexander Hotel.
This elegant, spare art book pairs black-and-white plates of two recent sculptural works with poems about grief, faith, and doubt during wartime. In 2011, Evangeline sent 20 aluminum bars to her son, who was completing his deployment in Iraq.
In the fifth interview in the “Survival Guide” series, Raina Benoit talks with artist and educator Gina Phillips. Phillips creates detailed fabric and thread constructions that toggle between the fantastical and the everyday, embracing the historical and narrative potential of Southern textile traditions such as quilting and embroidery.
Villinski, who is from New York, brought his partner and three studio assistants to install nine pieces in the space, she said. With 100 to 200 butterflies per sculpture — including one that is 8 feet tall — there are 1,500 to 2,000 butterflies now inhabiting Tayloe Piggott, Ripps said.
Marna Shopoff is moving in an increasingly abstract direction these days, at least in comparison to the work she had on display back in April at the Harrison Center for the Arts’ Gallery #2, which focused on architectural subject matter.
Louisiana artist Anastasia Pelias exhibited her artwork in 2006 at the Eichold Gallery at Spring Hill College, and also in the “Catalyst” show at Space 301 in the aftermath of the BP Gulf oil spill.
"We take comfort in the strength of architecture from the anxieties created by a continuous stream of information," reads Marna Shopoff's artist statement to her new show, and in her painting, "Street Scene," you can speculate on how this idea applies to her work.
Think of Margaret Evangeline as the Annie Oakley of the art world. The New York City-based artist creates her trademark abstractions by shooting stainless steel panels with handguns, shotguns and rifles of various makes and calibers.
IN MARCH OF 2010, Rian Kerrane, Anastasia Pelias, and Melissa Borman collaborated in a three-person exhibition at the Edge Gallery in Denver. This was the first in what would be three exhibitions titled mara/thalassa/kai: the SEA, on the same theme: the artists’ relationships with water and the sea, and the narratives that link their careers and personal histories.
While it's not quite its final weekend, "Constant Abrasive Irritation Produces the Pearl: A Disease of the Oyster" at The Pearl will too soon be coming to a close. Before it goes, Wesley Stokes chimes in on curating video and the future of art in New Orleans.
E2 featured in Milan's photography art fair.
Something of this sentiment is expressed in a body of artwork currently being exhibited at Heriard-Cimino Gallery in New Orleans. Artist Anastasia Pelias has installed a suite of paintings titled “Washed (to the Sea and Other Waters)” there. The exhibition is a visual love poem to the sea in general, along with some of her favorite bodies of water around the planet.
With its wingspan of 33 feet, "Passage" is a nearly full-size glider plane fashioned entirely from discarded lumber Villinski salvaged from the streets of New York City.
Villinski’s installation is fabricated from recycled and repurposed wood that the artist salvaged from discarded shipping pallets, police line barriers, broken furniture, and construction sites around New York City. Enveloping the life-sized glider is a cloud of 1,000 black butterflies; a motif the artist is widely known for and which has been prominent in his work for over 15 years.
Hailing from Louisiana and now a resident New Yorker, Margaret Evangeline isn’t afraid to tackle an array of difficult subjects using “aesthetically resistant” materials. Her first monograph, Margaret Evangeline: Shooting Through the Looking Glass, demonstrates the breadth of her work and the various influences that inspired it.
Mr. Villinski, a glider pilot and record collector, explores themes from his life, including music and flight; and recycled materials, such as audio paraphernalia, musical instruments, discarded wood, and aluminum cans.
American painter Margaret Evangeline (born 1943) is as likely to take a gun to stainless steel as a brush to canvas. She considers both acts part of her investigation of the medium, calling her bullet-hole works an attempt to understand “the sensation of painting without the paint.” This monograph surveys her expansion of the terms of painting.
Wrong Sounding Stories is a wacky show. Rounding out a season of history-based exhibits, Adam Mysock applies his own artistic equivalent of genetic engineering to some well-known history paintings reworked to feature Abraham Lincoln in a starring role.
We might prefer it if our skin was smooth and wrinkle-proof, but Nikki Rosato celebrates the lines that mark us. In her work, the Boston-based artist, interested in portraiture and figurative work, draws parallels between the contours of our bodies and the lines on a map.
In Black Lincoln for Dooky Chase, newly acquired by the Brooklyn Museum, Skylar Fein overlays a silhouette portrait of Abraham Lincoln on a panel made to resemble an old wall menu from Dooky Chase, a well-known Creole and soul food restaurant in New Orleans.
Artist Skylar Fein was walking through New Orleans' French Quarter a few years ago when he passed by a plaque that read "On this spot these 32 people died when a gay bar was set on fire." "I looked up and felt a chill.... I wanted to know the story," Fein told us in a recent email interview about "Remember the UpStairs Lounge," his current No Longer Empty instillation about the gay bar destroyed by a 1973 arson fire.
On view in this two-person show are a dozen ceramic sculptures, by Brendan Tang of Kamloops and Dirk Staschke of Vancouver. And while preparing yourself for dazzlement, expect to discard any preconceived notions you might have about the nature of ceramics.
In its own way, tracing the origins of painter Margaret Evangeline’s current works at Elizabeth Moore Fine Art recapitulates the ontogeny of creole New Orleans. Last summer, the artist’s random discovery of an alleged image of Marie du Barry, consort to King Louis XV, led to a fascinating investigation of the tangled and wrought histories of three Maries: Anna Marie Tussaud, Marie Jeanne Becu du Barry, and Marie Laveau.
Margaret Evangeline has long experimented with aesthetically resistant materials, making work that deepens the immediacy of a moment. She is perhaps best known for her use of gunshot and mirror-polished stainless steel.
“Emergency Response Studio” is a conceptual project by the artist Paul Villinski, inspired by post-Katrina New Orleans. Visiting the hurricane-ravaged city in August 2006, the artist wished he could transport his studio down from New York to create work in response to the tragedy. Instead, he converted a 30-foot Gulf Stream Cavalier trailer into a mobile live-and-work studio space.
A post-disaster trailer home can hardly be called a work of architecture. But Nikolaus Pevsner's well-known aphorism about Lincoln Cathedreal -- a bicycle shed is a building, but the cathedral is a piece of architecture -- might favorably apply to Paul Villinski's reinvention of a FEMA-style trailer as a genuine piece of design.
The Journal of Architectural Education reviews the exhibit of Paul Villinski's Emergency Response Studio.
Republican-American reviews Paul Villinski's Emergency Response Studio.
Villinski cast an eye on a mass-produced, widely hated symbol of failure, turning a 30-foot Gulfstream Cavalier trailer — much like the 50,000 built for the Federal Emergency Management Agency following the disaster of Hurricane Katrina — and turning it into an artistic survival headquarters.
Flying can mean simply leaving the ground and flying up into the sky, but it can also denote the realization of our hopes and dreams. New York artist Paul Villinski is coming into the limelight with works that express this kind of meaning and feeling.
Midwest Home reviews Paul Villinski's butterflies.
Paul Villinski takes discarded beer cans and turns them into wall displays of colorful butterflies; he takes work gloves left in the gutter and stitches them into giant wings, the gloves' fingers fluttering like feathers; and when he was in flood-ravaged New Orleans in 2006, he roamed the streets looking through the trash people carted out of ruined homes and collected their warped old records, then began working with those too.
Over seven months, Villinski transformed a salvaged FEMA-style trailer into a rolling, off-the-grid live/work space that could house displaced artists, or allow visiting artists to “embed” in post-disaster settings.
New York-based artist Paul Villinski has built a really impressive mobile art studio for "Paul Villinski — Emergency Response Studio." It's a 30-foot Gulf Stream Cavalier trailer that the artist essentially gutted and transformed into a solar-powered, off-the-grid workspace.
New York artist Paul Villinski created his solar-powered, “green”-designed Emergency Response Studio from a used trailer similar to the ones issued by the Federal Emergency Management Agencyafter Hurricane Katrina.
Villinski, who has spent much time in New Orleans throughout his life, conceived the mobile live/work studio in response to the displacement of New Orleans artists after Katrina.
Stashke's work reviewed in Cermaics Art and Perception.
Artist Paul Villinski's Emergency Response Studio started out with a conversation between New Orleans arts community legend Jonathan Ferrara and Beth Galante, New Orleans Director of Global Green, in an example of cultural and environmental worlds meshing to great advantage.
Emergency Response Studio, by Paul Villinski, is a solar-powered, mobile artist's studio, repurposed from a salvaged FEMA-style trailer. This sustainably re-built, off-the-grid living and work space is designed to enable artists to "embed" in post-disaster settings, and respond and contribute creatively.
Participating New York artist Paul Villinski, who visited after the storm, unveiled his futuristic Emergency Reponse Studio, a FEMA-type trailer bought at a government auction and converted to a self-contained mobile studio complete with solar panels, a wind turbine, geodesic dome skylight and bamboo-based cabinetry.
Sculpture Magazine reviews Paul Villinski's Emergency Response Studio.
As her work has evolved from early, atmospheric abstract canvases to her increasingly metalic and ballistic concoctions of brilliant pigments on bullet-riddled stainless steel or aluminum panels, Evangeline cuts an ever more colorful figure in a mega art-metropolis.
Lisa Sanditz’s paintings, which explore the proliferation of single-industry towns in China, make up a study in cultural values that ultimately asks: Can something of beauty be recognized as such even when there’s a catch? What is right in a world where one person’s gain is clearly another’s loss?
Paul Villinksi's work featured in Prospect 1.
Paul Villinski's work featured at the Museum of Art and Design
Paul Villinski's work featured in the Museum of Art and Design
Lisa Sanditz is only 13 years out of Macalester College — seven if you count from the completion of her MFA from the Pratt Institute in Brooklyn — but she has already had solo exhibits on both U.S. coasts as well as in Brussels, and was recently profiled in Smithsonian magazine.
PETER SARKISIAN This artist is best known for projecting videos of naked subjects onto the four sides of Minimalist Plexiglas boxes, with results that are mesmerizing as technology but thin and somewhat maudlin as art. In his current show at I-20, Mr. Sarkisian cuts to the chase.
New York-based sculptor Paul Villinski has transformed a standard metalskinned FEMA trailer in to "Emergency Response Studio"; he's added solar panels and a towering wind turbine, and proposes that artists occupy such mobile housing during emergencies.
A native of Missouri, Lisa Sanditz has trawled the American Midwest, painting scenes of bucolic oddities from a chapel made of car parts to spelunking caves. In her work there is no hierarchy of sites, no singular place that represents best the excesses of modern life.
While working together on the Before During After project (Louisiana Photographer’s Respond to Hurricane Katrina), photographers Kleinveld & Julien decided to embark on a new body of work in response to the inequalities that were exposed during Hurricane Katrina.
The New York-based, Louisiana born artist Margaret Evangeline dedicated two recent exhibitions in New Olreans to the victims of Katrina and Rita.
Paul Villinski, a 46 year-old New Yorker whose Airlift expo is on view at the Ferrara gallery, is also a flaneur of sorts, a connoisseur of some of the most prosaic and poignant trash the streets have to offer. He is also a pilot of sailplanes and gliders, and his artwork often alludes to ascendance, as experience and as metaphor.
In Lisa Sanditz’ ebullient, skewed landscapes, flatly painted in an array of punchy colours, the USA is a crazy quilt of oddities and conflicting fantasies. At their best, the paintings suggest a dizzyingly iridescent, ad hoc culture in which the artificial mixes with the natural like oil with water.
Margaret Evangeline's work is featured in an article reviewing the sculptures at The Fields Sculpture Park.
New York-based painter Margaret Evangeline's show at Paul Rodgers/9W consisted of both oil paintings and burnished aluminum sheets.
The New York Post features Margaret Evangeline.
Piece by Margaret Evangeline featured on the cover of Vogue Magazine.
Margaret Evangeline is among the New York artists with residensies at the Sante Fe Art Institute.
Palm Beach Daily News reviews Margaret Evangeline's mediums and process of creating art.
Paul Villinski's work featured in 'Shadow Garden'
A review of Margaret Evangeline's "hallucinatory abstractions" at Galerie Simonne Sterne.
"On Air" is curated by Paul Villinski, whose own "Consolation (For My Father)," 1996, a sculpture suspended by 14 wire cords attached to a hundred leather gloves creating a ten foot span of wings, takes a shopworn theme and comes up with an affecting work which is a straightforward and elegiac and singularly affecting piece.
Staschke's work reviewed in HI FRUCTOSE.
Staschke's work reviewed in Cermaics Art and Perception.
Dirk Staschke's work reviewed in REVS magazine.
Winner of the John and Joyce Price Award of Excellence of the BAM Biennial 2010: Clay Throwdown!, ceramic sculptor Dirk Staschke returns to BAM with his first museum solo exhibition, Falling Feels a Lot Like Flying.
E2 featured in the Times Picayune "going out guide."
E2 featured in "Galleries+Antiques" of Where New Orleans.
The Pitsburgh Tribute reviews Paul Villinski's 'Lumenroom.'
La Presna reviews Paul Villinski's "Burst" exhibit.
New York artist Paul Villinski has transformed a 'toxic tin can' trailer into aan ingenious prototype for eco-friendly emergency accommodation.
The New Orleans Art Review explores Margaret Evangeline's dramatic and layered paintings.