29 JULY - 2 AUGUST
BOOTH A6
MILES McENERY GALLERY
29 JULY - 2 AUGUST 2024
ROSSON CROW
BEVERLY FISHMAN
ALEXANDRA GRANT
JACOB HASHIMOTO
TOM LADUKE
MARKUS LINNENBRINK
HEATHER GWEN MARTIN
LIZ NIELSEN
PATRICK WILSON
“Crow’s process makes tangible and literal our tendency to receive information in fragments and reassemble those fragments to suit whatever narrative we wish to put forward. But Crow is not looking to fool anyone. By creating unlikely juxtapositions— like distorted American flags framing a cluster of cactuses—and using hues of bright pink, acid yellow, and lime green, she puts the artificial, constructed nature of her images at the forefront. Then, she adds another layer of complexity on top. Her drips and visible brushstrokes remind the viewer—in a way we often forget or doubt when interacting online—that there is actually a real person behind what we are seeing.”
- Julia Halperin in “Rosson Crow is the Painter of our Post-Babel Age”
60 x 48 inches
152.4 x 121.9 cm
Wasn’t That a Time, 2024
Acrylic, spray paint, photo transfer, and oil on canvas
40 x 30 inches
101.6 x 76.2 cm
“As she mixes color and form in her crucible-cum-studio when she produces artwork, she is ever-present in the issues at hand. She knows that a painting won’t cure cultural and historical malaise. Something for the pain? This body of work offers space to reconsider assumptions, reexamine what is conventionally accepted as truth, and amend the conditions that trigger pain.”
- Rebecca Hart in “A Prescription”
Polypharmacy: Adhd, Anxiety, Adhd, Depression, 2024
Urethane paint on wood
44 x 42 inches
111.8 x 106.7 cm
Polypharmacy: Adhd, Opioid addiction, Chronic pain, Anxiety, 2024
Urethane paint on wood
45 x 41 inches
114.3 x 104.1 cm
“The painted abstract areas scaffold the text in fields of geometric newest paintings, however, suspend the viewer in the cosmos. The exploded (or perhaps imploded) this structure, and there is a dizzyingly of compression and expansion. The architectonic superstructure amorphous accretions, palimpsests, and patterns—shattering the strictures of freedom or liberation. It is like floating in a primordial soup rather an indexical structure.”
- Sarah C. Bancroft in “Yellow is the Challenging Color: Alexandra Grant and
geometric lines. These compositions have dizzyingly satisfying sense has given way to strictures to a sense rather than navigating and Antigone 3000”
Bougainvillea, 2021
Oil, acrylic, spray paint, and wax on linen
31 1/4 x 25 1/2 inches
79.4 x 64.8 cm
Phantasmagoria, 2021
Oil, acrylic, spray paint, and wax on canvas
45 x 35 inches
114.3 x 88.9 cm
“In so many ways, Hashimoto has created a wholly new aesthetic represent our technology-fueled lives. Within each of his pixels is myriad others to which it is joined in each work. As one begins to are revealed, and new possibilities unfold, ad infinitum. Jacob Hashimoto that is authentically inviting and is exceedingly elaborate in its multitudinous
- Eric Shiner in “SwipeTheory And Pixelism: Jacob Hashimoto On A New
aesthetic vocabulary that uses traditional mediums to is an aesthetic universe that connects with the imagine swiping across the screen, new worlds Hashimoto has created a new aesthetic playing field multitudinous and multiform presence.”
Trajectory”
This Earthbound Mortal, 2024 Acrylic, bamboo, paper, wood, and Dacron
54 x 47 inches
137.2 x 119.4 cm
The Endless Field, 2024
Acrylic, bamboo, paper, wood, and Dacron
54 x 96 x 8 1/4 inches
137.2 x 243.8 x 21 cm
“Viewers of the paintings may experience a sense of dislocation, and understood in retrospect, in the temporal and truly ghostly intertwining in the trace it leaves, a trace that, once again, bears no visible meaning, feeling that can only be induced by retrospective reading and interpretation.”
and of a deconstruction of the present. This experience can only be intertwining of the present. The present event (viewing) is revealed only meaning, a trace that is on the painting and in the viewer’s memory, a interpretation.”
Last Dance, 2024
Acrylic on canvas over panel
33 x 45 inches
83.8 x 114.3 cm
83.8
“What makes beauty relevant to contemporary art is its ability to engage, others to connect, and to offer new perspectives and new ways of understanding. Linnenbrink recently stated: ‘All works have a process of growth to of that is related to process in real life. So, they also give examples in real life, like plans gone wrong, process in and out of control etc., open to find oneself in them.’ Linnenbrink’s work is about our ability and accept things as long as we are open.”
- Cindy Rucker in “EVERYTHINGBETWEENTHESUNANDTHEDIRT”
engage, to will understanding. to them; a lot of happenings etc., so they are ability to consider
MARKUS LINNENBRINK
THEWEAKWHEELOFTHEWORLD, 2023-2024
Epoxy resin and pigments on wood
60 x 60 inches
152.4 x 152.4 cm
MARKUS LINNENBRINK
TIMEFORESTWATERPLANET, 2024
Epoxy resin and pigments on wood
48 x 48 inches
121.9 x 121.9 cm
“When Martin says her smaller works are ‘heavy,’ it’s in part because of spatial relationships. Martin is quick to point out that her paintings, size, retain the same aspect ratio. With the smaller paintings, though, of the forms amps up the torrent of activity within her compositions. as much room for light and opacity to dance (or duel). This time, light
- Julie Baumgardner
because of the density paintings, regardless of though, the closeness compositions. There’s not light shines.”
Snatch, 2023
Oil and acrylic on linen
12 3/4 x 15 1/4 inches
32.4 x 38.7 cm
Oil and acrylic on linen
12 3/4 x 15 inches
32.4 x 38.1 cm
“In the worlds depicted in Nielsen’s light paintings, time is an infinite always arriving, looking through, wandering in, traversing. Her saturated, colors burst forth as an invitation to dwell. In our overly scheduled our self- imposed high expectations, our internal and external pressures, to consider a kind of liminal space where to be or not to be is actually question—we are always just being.”
infinite loop. One is saturated, gradient scheduled lives, with pressures, it’s nice actually not the
Analog chromogenic photogram on Fujiflex
30 x 21 inches
76.2 x 53.3 cm
Analog chromogenic photogram on Fujiflex
50 x 63 inches
127 x 160 cm
“Geometrically derived abstraction is barely a hundred years old, and yet somehow it has managed to reinvent itself with each passing era. At this juncture in the 21st century, when constant digital bombardment has the infinite potential to induce a numbing sensorial fatigue, abstract painting as Patrick Wilson practices it astutely demonstrates that it can be more than a match for the visual cacophony of the streaming age—primarily by seducing our eyes into doing the journeying for us.”
-
Dan Cameron in “The Condition of Color”
27
68.6 x 53.3 cm
68.6 x 53.3 cm
