By Show and Tell
By Bree Davies
By Bree Davies
By Cory Casciato
By Emilie Johnson
By Robin Edwards
By Bree Davis
By Josiah M. Hesse
There are some great resonances that develop here, such as the ones between the pieces by Jae Ko hanging in the window room up front and those by John McEnroe around the corner. You can't see both artists' work at the same time, but their sculptures bookend the non-objective abstract theme of Expansion. Both seem to make abstract references to biomorphic shapes — Ko with rolls of paper that have been dyed and stretched, and McEnroe with cast resin — and both carry out their pieces in monochromes. And finally, the two artists have chosen to mostly work with attenuated vertical shapes.
Other artists who have non-objective pieces on view, some with references to nature, include Linda Fleming and Jaq Chartier. Fleming is represented by "Portent," a large, pierced-metal assemblage that's floor-bound. There are two ethereal abstracts by Chartier, "Full Spectrum — Violets" and "11 Stains With 14 whites," that are plastic panels covered with repeated shapes in stain and spray paint. They are approximately the same, though not exactly.
Another nice resonance occurs with the Gene Davis prints from his "Black Watch" series and the Wendi Harford painting "Untitled (Drip #4)." The Davis prints are covered with crisp vertical stripes of ink, with tight and chaste margins. Harford also employs vertical stripes, but she makes hers by dripping paint down the front of the canvas so that the margins between the colors are rough and free-flowing.
An additional theme that appears, this one toward the end of the show, is conceptual realism, with photo-realist pieces by Jerry Kunkel being among the standouts. Kunkel, like Ko and McEnroe, is seen in some depth, with more than half a dozen of his meticulously detailed pictures that recall a lost past. Also delving into conceptual realism is Jack Balas, who continues his exploration of handsome young men in mixed-media paintings.
Finally, there's a small selection of works in the viewing room in the back that are not a part of Expansion, but you wouldn't know that, since this display melds beautifully with the rest of what's on view. These are large and blurry landscape photos by Danae Falliers, put together seamlessly with patented pinhole landscapes, which are also blurry, by David Sharpe.
Robischon is aiming to re-subdivide the space at some point in the future, meaning that the gallery will be spread out through all of it for a limited time only. Meanwhile, it's like having a new museum in town.