Press

"Sometimes we see something better when we don’t look directly at it. This thought permeated my viewing of Kathryn Lynch’s impressive paintings at Turn Gallery on the Upper East Side. Her current exhibition, fittingly titled “Between the Streets,” showcases her crowning achievement as a painter: capturing the liminal spaces that define the essence of a given place.

"The show consists of city scenes painted simply – innocent, almost childlike renderings of buildings with towers or steeples, a monument, cars on streets, trains on elevated tracks, a boat on the water, a few trees here and there. The compositions are loose and gestural without detail or fuss, but still manage to suggest different seasons, weather, times of day, and places. Undistracted by minutiae, the viewer is free to enjoy terse paint handling that represents scenes while distilling mood, transience, and history onto one plane, like dreams rendering reality as a patchwork. The subjects have just enough specificity to allow familiarity, and the paint delivers emotive power. Many of the paintings resolve around one dominant and evocative color that suffuses the field of the canvas or panel."

"My intention is not to overwhelm the audience by dominating the space; I want to invite them in and envelop them. Larger works allow me to expand my creative thinking into areas of theatre and architecture, as well as create opportunities for collaborations with other artists involved in film, music, and movement. My initial vision for these collaborative works typically remains pretty constant. Their execution can be very involved and labour intensive, however my objective is to make them appear to be very easy - like watching a cloud go by."

"Art advisor Kipton Cronkite launched the Instagram Live series Thinking of Art on March 27, 2020, during the early days of the coronavirus pandemic, as a way to share his conversations with artists, designers, real estate advisors, fashion experts and many others for whom art plays a central role in their work and lives. Kipton interviewed Bo Joseph on April 20."

In the final or four articles on the concept of "uncollage," Todd Bartel further explains its meaning and recounts when he first coined the term during a studio visit with Bo Joseph.

If you have a love for midcentury design, then you might want to consider a road trip along the southern New Jersey coastline in America where some of the most significant examples of motels from that time still exist, many of which remain unchanged.

Situated in The Wildwoods, a group of small shore towns on a five-mile-long barrier island, the postwar resorts have been captured by photographer Tyler Haughey in his series, Ebb Tide.

The Wildwoods is the collective name for a cluster of small shore towns spread across a five-mile-long barrier island in southern New Jersey. The area first developed into a major summer tourism destination in the 1950s when brothers Lou and Will Morey, inspired by a visit to Miami’s South Beach, started building motels on the island. The Jersey Shore destination got another big bump in 1957 with the completion of the Garden State Parkway, which channeled an estimated 350,000 additional cars to the region every year. By 1970, more than 300 new motels had been built in The Wildwoods, many of them owned by the Moreys.

"“My studio is open and flexible, which works really well for my process,” says Philadelphia-based artist Jen Wink Hays, whose paintings and sculptures feature a compelling interplay of forms and colorways (think: sage, burnt sienna, and ochre with a shot of Schiaparelli pink). Her airy space, a series of conjoined classrooms within a sprawling old schoolhouse, is set up with various zones so Hays can juggle a few projects at once—of which there are many."

"Gerard’s fierce, crumpled ceramics reflect the hijacked geometry of their making; tears, indents, drips, and folds freeze in time to create each piece’s soft, seamful scaffolding, a kind of intuitive architecture that extends the careful linework of her paintings into three dimensions. There’s a corporeal quality to her work in porcelain, which doesn’t so much evoke the body as recall it through touch, simultaneously deconstructing and reconstructing the complicated longing inherent to intimacy. Latent violence also bubbles under the surface of these sculptures—Gerard’s interventions sizzle in their stillness. A graduate of the New York Studio School and Harvard University, Gerard has exhibited widely and taught at Bard, Swarthmore, Pratte, Columbia and SVA."

The saturated hues in Garden State–born Tyler Haughey’s photographs of off-season Jersey Shore motels infuse these desolate venues with warmth and humor. The pictures look as though they could be frames from a Wes Anderson film: Haughey finds visual magic in a prosaic locale, capturing the beauty of the shore’s Art Deco structures in both the sun and snow. One stunning example, Gold Crest Resort Motel (2016), shows a vivid lodging façade with cherry-red doors, turquoise drapes, blindingly white railings, and a vivid green putt-putt yard demarcated by a yellow curb. Gallerist Gaines Peyton described the “box-like effect” of Haughey’s images: From her perspective,they become an “extension of the architecture,” as the pictures evoke both painterly geometric abstraction and Joseph Cornell’s famous boxes.

"With a pair of monumental heads of female equestrians (each 9 by 12 feet) Suzy Spence extends her explorations of drag hunting into new formal and emotional terrain. Gender, class, sexuality and other existential concerns still permeate the  imagery, but the shift in scale catapults her concerns to a new level. Retaining the dashed off bravura of her small studies in Flashe, these billboard-scaled faces engender a sense of cognitive dissonance: at once cool titans and vulnerable mortals, these hunters ride a narrow path between the intimate and the hieratic."