Tuesday, March 13, 2012

Chelsea Part 2

Art for sale in Chelsea:

Gerard Petrus Fieret at Julie Saul Gallery:

From the gallery website: "Gerard Petrus Fieret lived in the Netherlands and was trained as a painter at the Academy and self taught as a photographer. He was active in a milieu with no societal restrictions. Fieret maintained a studio practice where he directly engaged with his sitters in a raucous confrontational and experimental mode. There is an open dialogue that is ambiguous and has a performance aspect. Fieret worked in a completely inconsistent and fearless way with creased, strangely exposed prints made in a great range of sizes, with dashing signatures in felt tip pen and studio stamps contributing to their strong graphic presence and dada spirit." [Click on view images for more]

What intrigued me most about his work is the David C. Nolan/Marilyn Monroe effect (stamping a name over the body as if that name owns it).

Tom Friedman at Luhring Augustine:

Tom Friedman, Untitled (Wrinkled Photo), 2012

This gives me a good idea for my next Postcard Collective entry!

Tom Friedman, Untitled (Sun), 2012 contains approximately 3,650 12" wooden dowels painted yellow and were adhered to a 12" styrofoam ball. The first thing I thought of when I saw this piece was "I have more paper cats than dowels represented here!" Yikes. Obsessive collecting.

Paul Graham's The Present at Pace Gallery:

This was one of my favorite exhibitions. His nod to Philip-Lorca diCorcia's lighting, the extraordinary presentation of the images, the passing of time (in brief seconds), and the profound content commenting on today's society (class, race, etc.) were truly engaging.

Douglas Huebler's Crocodile Tears at Paula Cooper Gallery:

The premise of this series is derived from a screenplay written in the late 1970s. From the gallery website: "The screenplay tells the story of fictional performance artist Jason James and brings together a number of issues as current then as today, such as the emergence of digital art, the strengthening of a profit-driven art market, artists’ resistance to commodification, the merging of art and entertainment, and more."

Douglas Huebler, Detail from an image in Crocodile Tears

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