Nothing is recognizably depicted, but something like a festive spectacle has been achieved with layers of colorful marks that range from orderly patterns of dots to large, dramatic brush strokes.
The Fair aims to break down the institutional barriers that can often keep artists and buyers from interacting in meaningful ways.
The paintings in “Born in the USA” are both a reflection of contemporary political events and a dire prediction of the future.
Born in England a decade after the Hairy Who exhibitions of the late 1960s, Nudd’s bug-like human figuration is clearly in the tradition of Jim Nutt and Karl Wirsum.
“Dark Matter” doesn’t offer many specific resources, nor does it really image the future, but it provides a respite from the battleground of twenty-first century life.
It’s difficult to convey in words the complex patterns, punctuated by virtuosic figural passages, that characterize many of these textiles.
Most of the artworks here are bound together by their soft and simple curves, subtle nods to geometric abstraction and their thoughtful engagement with a wide spectrum of colors.
The exhibit produces a peaceful, restorative and comforting effect on the spirit.
Over the past decades, Craven has developed a diverse ecosystem of moving parts that celebrates the many facets of painting production.
Wirsum returns after a six-year hiatus with a suite of candy-coated Imagist goodness.