DENISE BIBRO FINE ART, announces its summer installation of works from its backroom.
Featuring works by Thurston Belmer, Daniel Borlandelli, Janet Goddard,Mark Hadjipateras, John Hrehov, Warren Linn, Jerry Meyer, Roslyn Meyer, Danny Morgan, Charles Olson, Don Perlis,Anne Pourny,Tim Ripley, Jack Rosenberg, Audrey Ushenko, Chuck Walker, Susan Woods, Jan Wunderman, and Katie Yang.
We will not have to tap hands and say “NO!” for the summer. Our summer installation is comprised of works from the place that many want to go-our backroom. This group installation is comprised of gallery and guest artists. The work exhibited displays a broad range of media and genres of art: conceptual…abstract…representational…. This exhibition will give insight into the depth and girth of the art we represent. What wonderful inventory we have will make you want to make an appointment to view and acquire work for your art collection.
For more information please call (212)647-7030, email firstname.lastname@example.org, or visit us at www.denisebibrofineart.com. You can also view the works on Artsy.net.
1stDibs® Terminal Stores 269 11th Avenue, Lobby 4, 7th Floor New York, NY 10001
I am pleased to be a part of a small, local event celebrating the art of design and craftsmanship Thursday, April 17th, 2 – 7:30 PM in the beautiful library of The General Society of Mechanics and Tradesman of the City of NY 20 W 44th St.
Susan Wood’s sculptures walk a fine line between geometry
and expression. In much of her work there is a recurring quality of animation
or lifeness– a trace of lived
experience, coiled energy, a little bit uncanny sense of potential movement
implied. She balances abstract, constructivist forms and fields of patterning
and traces of mechanomorphic, activating multiple references from very ordinary
materials. The resulting works are fully contemporary but also call to mind a
lineage of arts and crafts and avant-garde traditions, from Josef Hoffman to
Marcel Duchamp and Rebecca Horn. Sometimes, as in a wall relief like
Synchopation (bed spring1), 2016 the irregular splay of a row of metal rods
along the bottom hints at tiny legs in motion, amplifying the accordion-like
movement suggested by the buckling grid above. Woods is a bricoleur, collecting
and repurposing familiar, found objects, often cast off industrial metal
things, machine parts, pieces of box springs, and reshaped and refinished
planes of wood. In this she reminds me of Louise Nevelson, who collected cast
off materials and had an artistic sensibility somewhere between constructivist
and animist. Nevelson said once that she could hear the wood she worked with
talking to her; Woods also seems finely attuned to her materials and lets them
Psychedelic Springs is a taller than life size, freestanding
assemblage made of zig-zag upholstery coils, disassembled and welded together
in tight rows. The result is a sculpture that resembles at first a decorative
screen and then, because of its proportions, a totem or a stele, a monument to
industrial form and the materials we sit and lay on through much of our lives
without seeing. In the studio, with a gentle gesture Woods sets this piece into
motion; It leans slowly backward and then forward, always back to its towering
equilibrium. The curving lines create shifting op-like linear patterns
depending on where you’re standing, adding the the feeling of oscillation and
play. It is at once intricate and perfectly simple, dead serious and a send up
of our expectations of monumentality.
Tricia Laughlin Bloom Curator of American Art, Newark Museum
My Drawings come out of an autobiographical moment, a diary
of sorts, though, I would hope universally represented as to relate to others.
I start with a subject and then proceed spontaneously. Imagery appears which I
develop. As with the sculptures there is built in a multi-dimensional surface
with flat and deep space, using dimensional lines of non-objective space to
move the composition within and about the paper and perimeters. The sculpture
and drawings are not related to each other, in that the drawings are in no way
a preparation to the sculptures or wall pieces. The drawings exist as black and
white paintings with pencil on paper.
These wall pieces involve everything I know about sculpture
– flat and dimensional space with all of the techniques which promote movement
around the composition – primitive and so-called developed practices, pictorial
and non-objective. There is the use of symbols I find historically visceral,
made from upholstery springs, flattened, cut-up and re-pieced back together.
This stems from the 1st Spring Screen hanging sculpture I made from
flattened conical springs, commonly known as bed springs. The zig-zag
upholstery spring also provides product in combination with each other. This
Interest in these two materials from the Industry came to become the wall
reliefs I now make.