Colby College Museum of Art
5600 Mayflower Hill Drive
Waterville, Maine 04901
Old Bronx Borough Courthouse
878 Brook Avenue
Bronx, New York 10451
For Julianne Swartz, liminality is the common locus across disparate objects and materials. She holds some aspects of her work just outside of perceptibility and invites viewers to become participants, to cross thresholds of comprehension and thus fulfill the works. In “How Deep Is Your,” Swartz installed her works not only according to architectural spaces, but also in anticipation of visitors’ bodies. For Line Drawing, she placed blue plastic tape on the wall, punctuating the line with lenses that invited viewers to squat and peer into lathing and institutional nether spaces containing hyperbolic continuations of her line. This voyeuristic encounter divulged a radical interruption of the minimal wall drawing. As is the case with many of Swartz’s objects, curiosity and interaction were satisfied ...see the entire review in the print version of May's Sculpture magazine.
William V. Ganis
NADA New York 2015
Basketball city, 299 South Street on the East river
PaRC 2015 - Perú Arte Contemporáneo
Museo MAC Barranco Lima (Av Grau 1511 Barranco Lima)
(April 22 - 26, 2015)
Dallas Art Fair
FIG (Fashion Industry Gallery)
1807 Ross Avenue, Dallas, TX 75201
(April 10 - 12, 2015)
Chris Duncan, Mark Malmberg, Christian Marclay, Kate Lee Short, Julianne Swartz
Palo Alto Art Center
1313 Newell Road, Palo Alto, CA 94303
January 17 – April 12, 2015
Kader Attia, Francis Alÿs, Darío Escobar, Alberto Baraya, Albano Afonso, Matías Duville, Patrick Hamilton, Carlos Garaicoa, Cinthia Marcelle and Tiago Mata Machado, Moris, Pedro Alonso & Hugo Palmarola, Sandra Cinto and Santiago Sierra. Curated by Pamela Pardo.
Rua Vergueiro, 1000 – Liberdade
January 24 - March 29, 2015
28010 Madird , Spain
December 16 - February 14, 2015
Centro Banamex Hall D
(February 4 - 8, 2015)
Ana Bidart, Martí Cormand, Elena del Rivero,
Darío Escobar, León Ferrari, Marco Maggi, Adam Winner
28004 Madrid, Spain
Dec 16 - January 30, 2015
To admirers of Argentine artist León Ferrari's intensive, hands-on drawings, prints, sculptures, and collages, this show of small photographs of his sculptures taken in his studio must have been something of a surprise. Sharp, shiny, black-and-white analog pictures, they render the art they capture quite theatrical in a film-noir sense, imbuing the images a kind of sexiness and aura of mystery.
The 23 unique abstract and semi-abstract vintage gelatin-silver prints that were on view here, from the 1970s and 1980s, established interior relationships among the intersecting black shadows and white channels of emptiness, suggesting tensions and reconciliations. Ultimately, the photos, as if mimicking Ferrari's drawings by employing the lens as stylus, offered both less and more to meet the eye, describing rather than sharing the intimacy of hands-on work.
Ferrari (1920-2013), known internationally for his social and political critiques, is probably better known in the United States for his compulsive, calligraphic drawings and for his sculptures composed of intertwining iron rods. Like Brazilian modernist artist Mira Schendel, Ferrari made works in which writing and drawing are two sides of the same coin, and where drawn lines serve as codes and symbols on the one hand and as expressive marks on the other.
BARBARA A. MACADAM