ichnographias-reds: dye and ink on handmade paper 2012 for installation NOT BLOOD, RED #painting #drawing #abstraction #contemporary-art #installation @christinamcphee #artistsontumblr
ice archive http://www.christinamcphee.net/ice-archive/ #painting #ocean #sea-ice #abstraction 2014
"…a closed circle, and the knights all want to break out but can’t. It expresses this men’s world, this sense of being lost, this hope, this ‘it can’t go on like this.’ And on the other side is the excluded society of women, who come and go and constantly form new constellations. The men’s configuration is stable, but there is that barrenness. When all come together four and a half hours later, it ends on a very human note."
on the mythic blocking of the grail knights
sextant seals piedras blancas @christinamcphee 2014 Going into the dark. A night swim. This painting is hard and soft. I wanted it to be other but it refused. The seals’ heads are in in the black surf. Is the black a toxin or an underlayment, is the black petrochemical run off, are the seals dying or are they leaving the water, or are they crowding a sand bar. Ramifications of paint, glaze, layers, over and over, my blind strokes their strokes waves slamming up right against a pier. They and the painting won’t go further. The seals’ necks thrust outward seeking edge.
Ziad Antar’s photographs probe the production of images, their role as documentation, and their symbolic relationship to time passing within the urban environment. For “Here and Elsewhere,” Antar presents the “Expired” series, which began in 2000 with the artist’s visit to Studio Shehrazade in Saïda, the workshop of renowned Lebanese studio photographer Hashem El Madani (b. 1928). From El Madani, Antar purchased a 1948 Kodak Reflex II camera and ten rolls of medium format, black-and-white film that had expired in 1976. For nearly a decade, Antar experimented with this film in different vintage cameras during his travels to Cairo, Dubai, and Sharjah, producing grainy, painterly reflections of light and shadow.
Ziad Antar, Mecca II, from the “Expired” series, 2005. Gelatin silver print, 19 3/4 x 19 3/4 in (50 x 50 cm). Courtesy the artist and Selma Feriani Gallery, London
An intriguing concept: how to create an art exhibition about the inability to communicate? That is what curator Rachel Valinsky has set out to do in Itself Not So, the current group show at Lisa Cooley on the Lower East Side, and for the most part, her selections neatly vault past the inherent paradox of the proposition.
Aphasia-calculations at Lisa Cooley