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Gallery Guides Hudson Valley & Vicinity Gallery Guide

Hudson Valley (+vicinity) Selected Gallery Guide: December 2024

Contributed by Karlyn Benson / December is the month for small works and holiday group shows, such as LABspace’s annual “HOLIDAY” show featuring 400 artists and “ALL small” at Pamela Salisbury. There are a few weeks left to see Chie Fueki’s “Petal Storm Memory and Non-Objectified” at Kino Saito; “When the Spirit Moves You” and Eve Biddle’s “I have time for death and rebirth” at Geary; and “All At Once” at SEPTEMBER. December 6 is the opening of “The 5 by 7 Show” at the Kleinert/James Center for the Arts, marking the 25th anniversary of this popular fundraising exhibition. On December 7, Front Room Gallery celebrates their 25th anniversary with an exhibition of gallery artists. For this edition of the guide I have also included artist and maker fairs and pop up shows taking place at galleries and art spaces throughout the region. Shop local and give the gift of art this season!

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Gallery shows

Lydia Baker: Pooling consciousness

Contributed by Jacob Patrick Brooks / It would be hard to miss the overarching theme of Lydia Baker’s show “Sonnet,” up at Massey Klein Gallery: metamorphosis. But rather than relying on overused signifiers, she gently guides us through life’s whitewater rapids, her work practically whispering “the only constant is change.”

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Solo Shows

Dannielle Tegeder’s freighted abstraction

Contributed by Riad Miah / Informed by early modernists such as Piet Mondrian, Kazimir Malevich, Wassily Kandinsky, and Stuart Davis, Dannielle Tegeder’s abstract paintings are in themselves traditional, painted with acrylic on stretched canvas. When displayed, however, their import extends beyond the canvas edges into wall paintings, immersive installations, and even musical collaborations, encouraging a searching and interactive viewing experience. Her solo show “Signals,” currently on view at Standard Space in Sharon, Connecticut, incorporates new elements into her visual vocabulary, including ladder mobiles, stained linen, and walnut panels, freshly drawing on other aspects of art history.

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Gallery shows

Black and blacker at Studio 10

Contributed by Elizabeth Johnson / Planned with hope and trepidation, “In the Dark,” now up at Studio 10, leans into post-election malaise and dread with work by Mike Ballou, Tom Butter, Larry Greenberg, David Henderson, and Kate Teale – Brooklyn-based artists whose studio explorations are unified through the color black, via shape, mood, and phenomenon. Designed as a positive project for unsettled times, the exhibit coheres as a short list of nascent strategies for coping with darkness writ large before it has been parsed, studied, and conclusively judged. The works share a resistant sense of seduction, anticipation, and opportunity. By virtue of piecemeal construction, the show sustains an alluring in-between emotion, just right for entering voids that are only partly plumbed or viewing objects that are but partly known. 

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Gallery shows

Aggregate: The city as nature

Contributed by Anna Gregor / The anxiety of being unable to distinguish artifice from nature has haunted art since the Ancient Greeks. No one wants to be the prisoner who mistakes the shadow on the cave wall for Truth, or, more embarrassingly, the bird who tries to eat the grapes in Zeuxis’s trompe l’oeil still life. But today, as human-made technology permeates all aspects of life, the difference between what is artificial and what is real is not so clear. This ambiguity is most apparent in the city, where nature manifests itself as a force of decomposition and aggregation that acts on all objects indiscriminately, whether “natural” or human-made. Here, art and nature are indistinguishable. This relation of artifice and nature in the city is the driving force behind “Aggregate,” now up at Studio 9D.

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Gallery shows

Unsung galleries: Notes from a walkabout

Contributed by Michael Brennan / A while ago, with a half dozen adventurous galleries operating, a new art corridor seemed to be emerging on Atlantic Avenue in Brooklyn. This made geographical sense. Brooklyn was reaching critical mass in terms of artist residents, and the street itself was long and central, with excellent public transportation access…

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Solo Shows

Matthew Lusk: Offhand dystopia at Elijah Wheat

Contributed by Jonathan Stevenson / Located in rough-and-tumble Newburgh beyond the pale of riverfront commercial development on a piece of land just yards from the Hudson and insouciantly flush with its waterline, Carolina Wheat and Liz Nielsen’s grandly unvarnished Elijah Wheat Showroom has the Bunyanesque vibe of a frontier museum. Then it suavely wrongfoots its patrons with the fearlessly avant-garde attitude of 1970s Soho. Matthew Lusk’s deviously clever sculptures and installations exploit and reinforce both attributes…

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Solo Shows

Morandi’s pointed timelessness

Contributed by David Carrier / Giorgio Morandi was born in 1890 and died in 1964. After the 1910s, when his art had some affinities with that of Giorgio de Chirico, he painted only still lives – bottles or flowers – and landscapes. “Time Suspended, part II” at Mattia de Luca Gallery, part I having been staged earlier in Italy, is a blessedly large presentation of 45 paintings and fifteen works on paper that reveals how little other artists or current events – indeed, anything outside of his studio life – affected his work.

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Solo Shows

Liz Scheer: Intimacy, isolation, and the rewards of elusiveness

Contributed by Sarah Friedman / Liz Scheer’s “Nocturama,” now up at Galerie Shibumi, is a trippy journey into multimedia works that combine everyday objects, religious texts, and human emotions. The style of the vignettes evokes Mexican votive paintings, conjuring the viewer’s longing for coherent narrative. However, the enigmatic captions do not always seem to explain the scenes they are paired with.

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Solo Shows

Sylvia Plimack Mangold: Inside to outside

Contributed by David Carrier / As the title “Tapes, Fields, and Trees” indicates, the exhibition of ten works by Sylvia Plimack Mangold at Craig Starr Gallery draws on three bodies of her early work. In the mid-1970s, she made Minimalist paintings of tape measures. Pieces like Taped Over Twenty-Four-Inch Exact Rule on Light Floor, however, reveal a surprising poetry in seemingly prosaic subjects. Then she painted grids, like the one in Painted Graph Paper. Finally, in a remarkable transition, she drew a window looking out on a landscape….

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Screens

Certain women, 2024

Contributed by Jonathan Stevenson / Eight years ago, Kelly Reichardt’s exquisitely penetrating Certain Women appeared. A singularly nuanced and resolutely independent filmmaker, she patrols the interstices of American history and contemporary society. In this movie, she presented several game female Montanans who couldn’t afford to have feminism on their minds and nonetheless lived reckonable lives – a perspective that she had established sharply in Wendy and Lucy (2008) and reiterated softly in Showing Up (2022). Judging by several recent independent films, Reichardt’s subtle perspective has had lasting influence in framing the quandary of how women establish agency in a society that still – or at least again – often militates against them.  

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Gallery Guides NYC Gallery Guide

NYC Selected Gallery Guide, November 2024

Contributed by Sharon Butler / This month, Marian Goodman has opened her new space in Tribeca—a thoughtfully renovated building at 385 Broadway. Just nearby, at 394 Broadway on the third floor, Pierogi Gallery, a longtime staple in Williamsburg, is marking its 30th anniversary with a pop-up exhibition. The show features works by numerous represented artists, along with selections…

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Interviews

Patricia Fabricant: Fear of empty spaces

Contributed by Christopher Stout / Over the past 15 years, Patricia Fabricant has experimented with distinctive heroic elements within her work, some figurative and some that seem to be extracted from nature. “Horror Vacui,” her solo show at Equity Gallery, presents 26 inventively patterned gouache paintings that follow the conceptual approach the show’s title – meaning “fear of empty spaces” – suggests, filling the entire surface with detail and composition….

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Solo Shows

Lisa Hoke’s visual rodeo

Contributed by Jonathan Stevenson / Information overload has understandably been a popular theme for artists, and many have explored it poignantly….Lisa Hoke is one – a game and capable bull rider in a visual rodeo. In her solo show “Relative Uncertainty” at Kathryn Markel Fine Arts, she meets the challenge with consummate skill, persistent wit, and, not least, a kind of stoical grit that firmly rebuffs any attempt to cast her outwardly joyful approach as sheltered or clueless, utopian or oblivious.

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Solo Shows

Teak Ramos’s case for beauty

Contributed by Talia Shiroma / It is safe to say that beauty has become an incidental quality in visual art over the last century, taking a back seat to, among other things, art’s expanded range of aesthetic values, its social and political dimensions, and capacity for novelty. So it was surprising to find, at Teak Ramos’s solo show “In Traditional Fashion” at Ulrik Gallery, a self-conscious display of visual delight. The exhibition featured 14 panels clad in white silk and tulle, which ran along the walls like errant pearls. The works are impassive, delicate, and thoughtfully constructed. They are lovely and empty forms. 

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Group Shows

You Don’t Know Me: Trompe L’Oeil and artistic illusion

Contributed by Mark Wethli / On a small shelf in a quiet corner of Sarah Bouchard Gallery in Woolwich, Maine, sits a dog-eared paperback copy of Lewis Hyde’s Trickster Makes This World: Mischief, Myth, and Art. With a growing sense of delight, we soon realize that the book is itself a trick, a trompe l’oeil sculpture by Justin Richel, convincing in every detail from its vintage 1990s graphics to its well-worn cover….It is a fitting overture to “You Don’t Know Me,” the four-person show currently on view. The artists – Carly Glovinski, Rachel Grobstein, Duncan Hewitt, and Richel – present kindred explorations of parallel realities, producing conundrums and contradictions that give rise to visual enchantment and philosophical contemplation.

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Solo Shows

Rafael Vega and the creative process

Contributed by Riad Miah / Rafael Vega’s work contemplates the act of making art in its entirety. Each of his two-dimensional relief pieces, now on display in his solo show “To See Is To Conjure” at Helm Contemporary, emerges from a series of deliberate actions – cutting, folding, and stitching – that break down and rebuild the existing composition. Leaving unprimed and untouched canvas as a frame of reference, he lets viewers in on his creative ritual. They see, as it were, how the sausage is made.

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