“Seville 1a,b,c Seville 2a,b,c,” chromira digital print face mounted to plexiglass
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Waltzing around the world with his camera from Cambodia, through Indonesia, to Spain, Canadian photographer Robert Berlin captures sinuous and sensuous female dancers on the fly in daubs of whirling color. Possessed by shapely bodies in motion, Berlin sometimes attenuates his subjects to fleeting flashes of form, and sometimes turns figurative, allowing them to entice us with their sexuality. Either way, Berlin’s images strike a balance between ever-present blur and abundant detail, drawing the eye into the disciplined frenzy and keeping it there to dwell on delineated intricacies. Most effective when he abandons himself to abstraction, Berlin’s study of a dervish-like floral-patterned swirling skirt, transformed into a tempestuous mushroom cloud, shows that he is a partisan of power. Berlin wants his images to occupy a visual space between photography and painting, but they are too photographic for that—he is in the time-honored tradition of simulating movement in a still. (Michael Weinstein)
Unexpected: A Conversation with Robert Lostutter About His New Work, "Songs of War" Lostutter’s best-known works, which he’s been making since the early 1970s, are his watercolor portraits of a kind of hybrid species, combining human and avian features.The new graphite works, as well as five watercolors, are intense. Their subjects though, offer a radical departure from his preening young birdmen.
Lost in Translation: A Review of Crip* at Gallery 400 The strongest works in the exhibition succinctly express the ways the artist relates to their own body while calling out how the artist’s body and body of work has been perceived or coded against norms or ideals.
