Tag: Elizabeth Harris Gallery

Catalogue Essay

Elisa D’Arrigo: Between the beautiful and the grotesque

Contributed by Kay Whitney / There is a fundamental paradox at work in Elisa D’Arrigo’s ceramic objects — while they are unmistakably beautiful, they break every standard for what is considered “beautiful.” They are small, shambolic, eccentric objects lacking symmetry; they are not overtly colorful and don’t attempt to please. They are humble, not loudly announcing nor applauding their own appearance; understated and private, the viewer must come to them. Rather than exhibiting the mechanical surfaces of a wheel-thrown or machine-made object, her forms bear the imprint of her hands and in that way reveal the processes of their making.

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Bill Weiss go round

Bill Weiss, “untitled #36,” 2009, acrylic, oil stick and board on canvas 36 x 60″ Back in 1998 Dominique Nahas wrote that Weiss’s paintings have a ramshackle physicality that strikes us with their sense of urgent immediacy. “These paintings work on you as slowly and surely as the wind, the […]

Writing

Thornton Willis: Stripped down guts and lived wisdom

Blogger/artist Steven Alexander reports that, “anyone who is a lover of painting will inevitably feel a rush of recognition — that increasingly rare sense of being in the presence of an authentic voice. At once familiar and challenging, this rich new body of work is like the visual equivalent of […]

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Eyal Danieli: Helicopters, bombers and camouflage

Israeli-born, New York-based Eyal Danieli paints metaphors for aggression that explore the contradictory emotions of being both victim and victimizer. His show at Elizabeth Harris came down on the 8th, but I wanted to mention it nonetheless. In The Brooklyn Rail Tom Micchelli reports that the paintings’ “irresistible graphic sensuality […]

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Ashbery and Naves: Completing the circle

This month well respected art critics Mario Naves and John Ashbery both present their collages in New York. In the NY Sun, David Cohen covers both shows. “Is there something intrinsic to the appeal of collage to writers � to moving bits of paper around in startling, revelatory juxtapositions? The […]