by Alice Tallman
This show has brought together elements of fantasy and artifice combined with issues of excess and exploitation. Rather than being misled by nature, one could say that this exhibition presents a world that has gone against nature.
by Leanne Simaan
they still keep a sense of that intimacy in part because of how I took the pictures (the soft quality of light, the modest framing, etc.) and also because of the painting, drawing and collaging I added to the print
by Mitch Billinkoff
The onus falls primarily on the artists themselves but the format of the event begs to question whether the organizers are asking too much of the artists
by Emese Krunák-Hajagos
Giobbi’s characters are unmasked guests at the masquerade of our times, and his Herod, this overfed, oversexed antihero, leads this mad cavalcade.
by Mitch Billinkoff
If one is to take Julie M.’s exhibition as any indicator, it is abundantly clear that contemporary “Israeli” artists are working all around the world and are addressing a vast array of themes and ideas.
by Veronica Scarpati
Gary Duehr’s Sorry at Art in Transit is a collection of private apologies written in response to personal traumas with a charged series of photographs
by Leanne Simaan
Though we are left to contemplate and engage in intellectual dialogue in regards to the metamorphosis of the resurrected found objects, these works also inspire cheer by making their viewer smile.
by Leanne Simaan
His collection of objects displayed in the Justine M. Barnicke Gallery consists of historic examples spanning from 1930’s Spain to the NSA’s current control of encryption in the USA.
by Shellie Zhang
What Was Will Be unites the work of Kristie MacDonald and Christina Battle, two artists that utilize the potential of the archive to present us with media installations based on natural disasters.
by Leanne Simaan
Although Farber’s trilogy of works may seem morbid and pessimistic, he vulnerably offers his audience the opportunity to appreciate and relate to his growth as a human being and as an artist
by Leanne Simaan
Treloar draws inspiration from the crowned statues of the Virgin Mary and adopts the imagery in order to narrate different periods of her life
by Margaret Irving
There is a horror movie look to some of the paintings as if Dorland is afraid to be there, in an unfriendly landscape surrounded by menacing black trees.
