I'm very excited to share with you critic DeWitt Cheng's thoughtful review in Visual Art Source in response to my
exhibition Curiosity at Eleanor Harwood Gallery.
Showing posts with label dewitt cheng. Show all posts
Showing posts with label dewitt cheng. Show all posts
Friday, February 3, 2017
Wednesday, August 3, 2016
Metamorphic: Collage in the Dada/Surrealist Tradition
Metamorphic: Collage in the Dada/Surrealist Tradition
curated by DeWitt Cheng
July 16 - September 16, 2016
Reception: August 4, from 4:30 to 7:00pm
STANFORD ART SPACES
Artists: Jenny Honnert Abell, John Hundt, Catie O’Leary, Sherry Parker, Francesca Pastine and Vanessa Woods
Please see our Facebook page for directions and parking locations.
Time and Money #11 (detail), Time and Money Series, 2016, wood, plexiglass, New York Times pages, Mylar, 22" x 11" x 2.5"
curated by DeWitt Cheng
July 16 - September 16, 2016
Reception: August 4, from 4:30 to 7:00pm
STANFORD ART SPACES
Artists: Jenny Honnert Abell, John Hundt, Catie O’Leary, Sherry Parker, Francesca Pastine and Vanessa Woods
Please see our Facebook page for directions and parking locations.
Time and Money #11 (detail), Time and Money Series, 2016, wood, plexiglass, New York Times pages, Mylar, 22" x 11" x 2.5"
Tuesday, May 22, 2012
REVIEW IN ART Ltd.
Artforum, the art magazine published in New York City (after a childhood in San Francisco and adolescence in Los Angeles), is accorded ecclesiastical status by many art worlders, despite its history in the 1960s and '70s as the de-facto Ministry of Formalism, a purist doctrine now fallen into disrepute: an undoctrine, almost, in Orwell-speak. Francesca Pastine's sculptural interventions with copies of the magazine for the past four years, then, have a certain sly humor. Notes Pastine: "They were familiar fixtures in my friends' homes, nobody wanted to throw them away. I was intrigued by their square format, particularly when the bloated art market was reflected in their one-inch thickness... Starting with the covers, I cut, bend, manipulate, pull, and dig my way through them, revealing a visceral topography of art trends... My X-acto blade mimics a pencil, subtracting rather than adding... Through physically intervening with these familiar icons of the art establishment, I suffuse the inanimate with emotional power, creating a palpable complexity of form and information." Pastine's intricately cut assemblages resemble, variously, quilts, lava flows, tree fungi, clouds, and kids' pop-up books; some of them, labeled "unsolicited collaborations," name names--of famous, envied cover artists. From May 26 to July 7 at Eleanor Harwood Gallery.
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