Since Gallery 2's program is committed to encouraging alternative modes for understanding new and historical material through filters that may alter our perception, Andrea Rosen Gallery is delighted to announce a complex new group exhibition that juxtaposes Rottenberg's sculptures with
the evocative surfaces of works by Lynda Benglis, Sean Bluechel, Jean Dubuffet, and mid-century ceramicist Axel Salto.
Not exact matches
This atmosphere
of timelessness and
of nature's perpetuity is also apparent in
works such as Priscilla Bowden's Shinnecock Inlet (oil on canvas, 1977), Rae Ferren's The Water Garden (oil on canvas, 1978), and Bill Durham's powerfully
evocative Under Accabonac (acrylic on canvas, 1973), which illustrates the power
of abstraction in conjuring the invisible maelstrom that exists beneath the
surface of the seas.
The result is a suite
of subtly
evocative works with intricate variations in
surface and texture.
Always
working on wood panels with predetermined proportions, Quaytman employs a muted palette and a range
of formal techniques such as screenprinting, trompe l'oeil, and even the application
of diamond dust to the
work's
surface to create deceptively straightforward and visually
evocative compositions.
Formed by pliable materials including rope, thread, string, and fabric, the
works in Soft Power derive their presence and power from, on the one hand, the seductive textures, structures, and
surfaces of textiles, and on the other, the
evocative social and cultural connotations these materials provoke.
She put these ideas into practice in the development
of what has come to be called her All Over style, an approach to painting that covered the entire
surface of her
works with abstract motifs
evocative of nature.