Back To Nature Opening Wednesday, September 5 at Front Room Gallery, 7 pm. On view through October 21.
If you ever rode the Haunted Mansion ride at Disneyland, you’ll recall paintings hung on some of the walls that had eyes that appeared to follow you as you moved your own from side to side. Spooky! That’s sort of how I feel when I look at the wide-eyed paintings done by Amy Hill, who is opening a solo exhibition at Lower East Side’s Front Room Gallery on Wednesday. Her portraits are realistic while also being surreal and a little creepy (even the cats stare at you with unblinkingly large eyes), bringing the style of 19th century American folk art into more modern times. Rather than setting her figures in the 21st century, she curiously grounds them in 1960s counterculture, where peace-sign necklaces and fringed leather replace any peasant frocks. We never actually found that peace, did we…More →
Ron Wimberly Opening Thursday, October 5 at Superchief Gallery NY, 7 pm to midnight. On view through October 26.
Ronald Wimberly is not only a visual artist creating compelling and colorful images, but has also designed and completed narrative illustrations for multiple graphic novels and companies like Nike and Marvel. He’s even drawn a comic combining Brooklyn gentrification and vampires. This week, you won’t just find Wimberly’s work within the pages of comics like Prince of Cats and Black History In Its Own Words, but on view in a solo show at Ridgewood’s Superchief Gallery. There, you can see unique renditions of sports players, rappers, bubblegum-colored cartoon creations, and surely much more, as Wimberly has a lot of work out there. More →
Time again for our weekly roundup of what’s new on the art scene.
Art by Brice Brown
Buccaneer, Masquerade, Suspence, Abundance, Thorn, Champion. Recent works by Brice Brown April 17 (opening reception 7-9pm) to May 23 at Air Circulation, 160 Randolph St., Bushwick.
Kentucky-born artist Brice Brown created a multi-part installation meant to present a fragmented experienece of the still life genre as a way to explore “the dichotomous impulses inherent in the act of domestication: containment and freedom; restraint and release; a need for chaos and a need for order,” per the artist’s statement. The installation, largely consisting of archival pigment prints, wallpaper design and soft sculpture, draws from The Batsford Colour Book of Roses (1962) and pages from an early 20th century fruit and seed catalog. References to the letterhead design of constructivist-influenced masters such as Piet Zwart are embedded in the pieces.