Contributed by Lisa Taliano / It’s no easy task to determine how many dimensions there are in the string paintings of Eozen Agopian, now on view at High Noon Gallery on the Lower East Side. The artist’s heterogeneous low-relief assemblages consist of scraps of patterned fabric and colorful second-hand threads on soak-stained canvases littered with brushy paint effects. They produce a multiplicity of frayed and contradictory edges that make it hard to situate points in a single position in space. Being in more than one place at the same time synchronizes her nomadic state with her interior worlds.
Tag: High Noon
Jennifer Coates and the landscape’s afterglow
Contributed by James J. A. Mercer / Mythological characters and creatures from antiquity populate Jennifer Coates�s beguiling solo show �Lesser Gods of Lakewood, PA� at High Noon Gallery on the Lower East Side. Dryads (wood nymphs) peer out of underbrush. Layers of washy acrylic carve out sapphire chambers for bacchanals. An LED Diana hunts herds. The references are not only mythological, however. The figures� proportions and contours trace long paths through art history, from Greco-Roman sculpture to Matisse’s nudes.
Theresa Hackett: Divide and confront
Contributed by Riad Miah / Theresa Hackett’s Around the Bend, her second solo show at High Noon Gallery and first at its new location, could […]
Studio visit with Jill Levine
Contributed by Susan Wanklyn / For many years Jill Levine has explored the territory between painting and sculpture. Her pieces are constructed with Styrofoam shapes, […]
Amanda Church: The contemporary gaze
Contributed by Adam Simon / One of the under-appreciated aspects of art viewing is the way that a given work establishes a certain relationship with a viewer. Mark Rothko famously claimed that “lots of people break down and cry when confronted with my pictures.” He may have been trying to fend off a formalist reading of his work, but I can’t help wondering about the type of relationship he posits in that quote. In Amanda Church’s fine exhibition “Recliners” at High Noon, a very different type of relationship is established, in which the object playfully attunes the viewer to the knowledge and predilections he or she might bring to the experience of looking. Don’t expect to cry, but do prepare to be winked at.
Bobbie Oliver�s flood of associations
Contributed by�Robin Hill�/ Stepping into Bobbie Oliver�s solo exhibition �Residuals��at High Noon�triggers sensations of spaciousness, familiarity, and equanimity. Initially, the paintings invite narratives of how […]
Theresa Hackett: Melt down
Contributed by Sharon Butler / Climate change is in the air, so to speak. I recently finished binge-watching Fortitude, an ongoing British sci-fi series about […]























