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Art Break: Ariel DeAndrea’s Photorealism at Louis K. Meisel and ‘Charting the Divine Plan’ at the American Museum of Folk Art

Ariel DeAndrea: Crane 45

By A. E. Colas, Contributing Writer, June 11, 2018

Art Break has been reflecting on the phrase ‘thinking outside the box’ and the ways it can be interpreted. For instance, you could think outside the box if you decided to measure time in images instead of numbers. How about bringing the fantasies of your mind into the real world? Or make the hidden aspects of the world visible? All our picks this week take old ideas, pull them apart, and build a new box full of exciting possibilities. Visit any or all these shows to start breaking out of your own box of preconceived notions!

 

Ornelia Fieres: The Essence of a Moment: Reverse Fourier

Ornelia Fieres: The Essence of a Moment: Reverse Fourier (1); courtesy of artist / signs and symbols™.

signs and symbols™: Ornella Fieres: The Structure and Function of hidden Things  (June 14 – July 22) is the German artist’s first solo art show in the US. Fieres magnifies and manipulates distortions of found images captured in milliseconds too fast for human eyesight, questioning concepts of time, permanence, and reality.

signs and symbols™
102 Forsyth Street
Hours: Wed – Sun: 11-6
Admission: Free

 

Ariel DeAndrea: Crane #28 (Rocky Mountains, Colorado) 2016; oil on linen; 10 x 10 inches; courtesy of Louis K. Meisel Gallery.

Louis K. Meisel Gallery: Ariel DeAndrea: Ebb and Flow (June 14 – July 20) creates paintings using photorealism techniques. DeAndrea’s work reproducing ripples in water is especially vivid and convincing in its details.

Louis K. Meisel Gallery
141 Prince Street
Hours: Tues – Sat: 10-6
Admission: Free

 

Image of work by Clarence Schmidt; photo by David E. Johnson; courtesy of Ricco/Maresca Gallery / New York.

Ricco/Maresca Gallery: Clarence Schmidt: “Let’s Call It Hope”  (June 14 – August 17) is a memorial show to one of outsider art’s great masters. Over two decades, Schmidt built a collection of structures covered with layers of found objects, paint, tar, etc. creating an installation impossible to reproduce today. By using photographs by contemporary visitors alongside sculptures from the artist, the gallery invokes the grand project that changed the art world’s view about what modern art could be.

Ricco/Maresca Gallery
529 West 20th Street, 3rd Floor
Hours: Tues – Fri: 10-6, Sat: 11-6
Admission: Free

Maren Hassinger Monuments Wreath

Maren Hassinger: Study for Monuments, 2018; courtesy of the artist / Studio Museum.

Studio Museum in Harlem: Maren Hassinger: Monuments continues its mission while the museum undergoes renovation (reopening in 2020) by showing it’s still active in the community via the inHarlem initiative, a series of events for children and adults. Part of this summer’s programming is Monuments, 8 sculptures in nearby Marcus Garvey Park created by Hassinger and built with the assistance of the Studio Museum’s Teen Leadership Council and Expanding the Walls program. The artwork reflects and responds to the park environment and the sense of community created by the green space.

Studio Museum in Harlem at Marcus Garvey Park
Madison Avenue between 120th and 124th Streets
Hours: 6am-10pm
Admission: Free

 

Orra White Hitchcock Lady's Slippers

Orra White Hitchcock: Lady’s Slippers / Herbarium parvum, pictum; vicinity of Deerfield, Amherst, and Conway, Massachusetts 1817–1821; watercolor, pencil, and pen and ink on paper, from unbound album Approx. 12 7/8 x 7 7/8″; Deerfield Academy Archives / American Museum of Folk Art.

American Museum of Folk Art: Charting the Divine Plan: The Art of Orra White Hitchcock (1796-1863) (June 12 – October 14, 2018) is an outstanding exhibit of this noted American scientific illustrator. Hitchcock recorded the natural world, with a focus on the Connecticut Valley region, for her husband’s scientific publications and lectures in his academic career. Internationally admired for the skill and accuracy of her drawings and paintings, she consistently received full credit for her work, an unusual level of acknowledgement in her profession.

Orra White Hitchcock: Octopus Devouring a Ship

Orra White Hitchcock: Colossal Octopus [After Pierre Denys de Montfort]; Amherst, Massachusetts 1828–1840; pen and ink and watercolor wash on cotton 27 7/8 x 21″ Amherst College Archives & Special Collections /American Museum of Folk Art.

American Museum of Folk Art
2 Lincoln Square (Columbus Avenue between 65 and 66th Streets)
Hours: Tues – Thurs: 11:30-7, Fri: 12-7:30, Sat: 11:30-7, Sun: 12-6
Admission: Free

 

We also recommend two recently opened shows:

Tracey Moffatt: Mother & Baby

Tracey Moffatt: Mother & Baby (from the series Passage), 2017; digital C-print on gloss paper; 102 x 153 cm (40 ¼ x 60 ¼ in.); edition of 6 + 2AP; courtesy of the artist and Tyler Rollins Fine Art.

Tyler Rollins Fine Art: Tracey Moffatt: The Travellers (June 7 – July 27) was part of her installation (representing Australia) at last year’s Venice Biennial. This segment of the work explores the issue of migration through photography and video. Moffatt creates a sense of universality between the viewer and the image by removing any markers of location or time, adding to the impact of the piece.

Tyler Rollins Fine Art
529 West 20th Street, #10-W
Hours: Tues – Sat: 10-6
Admission: Free

 

Hugh Steers: Black Leather Jacket & White T-Shirt, 1989

Hugh Steers: Black Leather Jacket & White T-Shirt (1989); oil on gessoed paper; 11.20 h x 14.90 w in (28.45h x 37.85w cm); courtesy Alexander Gray Associates, New York. © Estate of Hugh Steers.

Alexander Gray Associates: Hugh Steers: The Nullities of Life  (June 6 – July 20) is a selection of the artist’s works made before his death from AIDS related causes in 1995. Steers favored a rich color palette and figural composition, unusual for paintings of the late 1980s – early 90s. These ambiguous paintings have extraordinary emotional power and force.

Alexander Gray Associates
510 West 26th Street
Hours: Tues – Sat: 11-6
Admission: Free

 

Cover:Ariel DeAndrea: Crane #45 (San Francisco, CA), 2018; oil on linen, 14 x 14 inches; courtesy of Louis K. Meisel Gallery.


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