BRICK MARCHING DRAGON SPRING CRAFT FAIR SERIESThe nine participating artists grapple with personal and communal traumas in complementary ways, from Maia Ruth Lee’s paintings of atomized sewing patterns, from her series “Language of Grief,” to Hong-An Truong’s stills of anonymous Vietnamese women in videos shot by American soldiers in the ’60s - ’70s. Curated by Stephanie Mei Huang, it honors Lee with an altar of offerings below her painting and creates a space of mourning for Asian American and Pacific Islander women. In a more formal way, the exhibition “ With Her Voice, Penetrate Earth’s Floor” does the same. I was searching for meaning in Lee’s senseless death. Looking at the painting recently, I read foreboding into that dark red mass. It depicts the cover of a pack of Golden Bridge cigarettes, with a pool of maroon paint behind the brand name. WILL HEINRICHīefore she was murdered in February in her apartment in Chinatown, Christina Yuna Lee studied art history as an undergraduate at Rutgers University and went on to work at Eli Klein Gallery for four years, during which time she made a painting for her boss. Whether you find that comforting or unnerving depends on which side you’re looking at. But the characters are so crisp and straightforward next to the fuzzy, ambiguous photographs that they slowly begin to read as an alternate reality, one in which America’s disintegrating public discourse is replaced by the narrow but reliable certainties of art. The reindeer is an ironic nod to the cheery mascot that hides every dystopian corporate reality Donald brings some levity to the weirdly serious “Duck Dynasty” cast. BRICK MARCHING DRAGON SPRING CRAFT FAIR TVIn “Duck,” a shot of the heavily bearded cast of the reality TV series “Duck Dynasty” is interrupted by a jauntily marching Donald Duck.Īt first, the cartoons just come off as comments on the photos. In “Fulfillment,” the piece that gives the show its title, a photograph of an endlessly receding Amazon warehouse is placed beside a cartoon reindeer with piercing blue eyes. These landscape-oriented pieces, each made of as many as five separate panels placed edge to edge, juxtapose silk-screened found photographs of contemporary life with oversized hand-painted cartoon characters. It’s the perfect setting for six new paintings by Julia Wachtel. It looks over a block on which at least three different versions of the Bowery - one in Chinatown, one dotted with luxury hotels, and one in the old lighting fixtures district - are all jammed together. There’s an enormous picture window at one end of Helena Anrather’s new gallery space, three panes of glass joined, or divided, by thin white epoxy seams.
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