Here is an exclusive look at some of my favorite pieces from The Armory Show's gallery previews:
Nathan Mabry The Nostalgia of the Infinitie (Le Cyclope), 2017
Aluminum, stainless steel, paint | 86 x 61 x 21 inches
Mabry synthesizes elements from investigates iconic metal sculptures from mid-century modernism and surrealism, creating pieces that are both fresh and harken to ideas of the past. This work feels like an ancient glyph and a Great Horned owl has happened to perch upon it. A fleeting moment forever captured and unified in the glorified red paint.
Matthew Brandt AgXID1A, 2017
Silver on silver gelatin print, mounted on aluminum | 71 1/2 x 41 1/4 x 1 3/4 inches
Silver on silver gelatin print, mounted on aluminum | 70 1/8 x 41 1/8 x 1 3/4 inches
These gorgeous works are traditional silver gelatin photographs that have been mounted onto aluminum and then oversprayed with silver, obscuring the images in places and creating a mirrored effect. The images are taken from forests in Bali, though the site is not as important as the nostalgia these landscapes evoke.
Donald Moffett Lot 112217 (late biology), 2017
Pigmented epoxy resin on wood panel support, steel | 72 x 46 x 5 1/4 inches
Moffett is known for his meticulous, yet non-traditional execution and often treats the canvas as a surrogate for the body, creating orifices by cutting and flaying or perforating the surface. His recent investigations expand the confines of the picture plane and question the very foundations of painting and its relationship to the wall.
Grace Weaver Undercover, 2018
Acrylic and oil on canvas | 37 x 33 inches
Grace Weaver’s paintings are vibrant investigations of the life and times of her generation. Weaver paints an atmospheric and accessible world that she describes as “halfway between reality and fable.”
Helene Appel Tape, 2016
Oil on linen | 74 3/4 x 51 1/8 inches
Helene Appel's trompe l'oeil paintings on linen explore the tension between faithful representation and the transformative possibilities in the process of painting.
Paul Winstanley Looking at Vermeer, 2016
Oil and gold leaf on gesso panel | 23.62 x 21.65 inches
The subjects of Paul Winstanley’s paintings are what he calls “semi-public spaces”. His compositions on photographs of uninhabited interiors and landscapes in a process he likens to Johannes Vermeer’s use of the camera obscura as a painting aid; his realist style has a distinctive out-of-focus quality.
Matthew Brandt Heidelberg Blanket C1 (Damiani Editore, Faenza,Italy), 2018
Embroidery on Heidelberg cleaning blanket | 95 3/8 x 42 7/8 inches
Brandt collected the blankets that cleaned the excess ink from his 2014 Lakes and Reservoirs book. Embroidered onto these blankets are snapshots from the studio—his hands, his father’s screwdriver, a crowbar that he was robbed with, a friend’s iPhone and a crumpled love letter.
Andreas Breunig Hi>°<LoRes No. 13, 2017
Oil, graphite and charcoal on canvas | 110 1/4 x 82 5/8 inches
Andreas Breunig's the Hi>°°°<LoRes abstract expressionist series is set behind a glass wall, so they can only be seen from an unsettling distance. The paintings, which now only represent layers, are supplemented by a competitively presented linguistic layer which extends the original meaning.
Jan-Ole Schiemann o.T.(frühstücken), 2018
Ink and acrylic on canvas | 70 7/8 x 61 1/8 inches
Schiemann does not utilize the formal structures of online mapping or urban planning, but rather a subjective perception of his environment which he translates into surreal forms. His multidimensional picture planes do not allow for an inattentive gaze; only an active viewer can explore the multitudes of the layers he is creating.
Mariah Robertson 332, 2017
C-print | 56 x 50 inches
Robertson's works are made from basic elements of the traditional darkroom, color filters in the enlarger, and the artist’s hands masking light from the lens or moving a cardboard dodger and burn masks, as her left foot sets off short bursts of light with a foot pedal. The resulting image is evidence of the un-witnessed, intuitive, corporeal, performance that occurs between Robertson, her materials and the dark.
Ann Veronica Janssens Gaufrette (Magma B), 2017
Annealed glass, vertical and horizontal ribs, PVC filter | 94 1/2 x 47 1/4 x 1/2 inches
Using light as her primary material, Janssens manipulates negative spaces to create interactive experiences. Sharing similar concerns with Light and Space artists (like sensory phenomena, translucence, and ambience), Janssens focuses on challenging viewers’ perceptions. Her luminous installations create gradient zones between light and shadow, and opacity and transparency.
Hans-Peter Feldmann Woman with Lipstick
Oil on canvas, framed | 29 1/2 x 24 7/8 inches
Characterized by its engagement with art history and vernacular imagery, Feldmann’s conceptual work has developed over more than four decades. With surprising humor and subtle intervention, he reconstructs existing images and objects to reflect on representation and the construction of ideologies.