Pattern Pulp

Tuesday's Gallery Picks


This week’s artists explore energy, memory and interaction.

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1. By knitting together childhood recollections, photographs old and new, the moving world seen from the windows of trains, stills harvested from the television set and other media, Edwige Fouvry pursues an “emotional truth” in which the recorded, the remembered, and the imagined must each play a role at Dolby Chadwick Gallery
2. Something Else features ten artists whose work deals with the energy inherent in living things. Each artist constructs a world in which the activity of life is visually enacted, not by specific portrayals of the forms of existence, but by an emphasis upon their innate core energies and exuberantly pulsating character at The Painting Center
3. Wayne Koestenbaum considers his latest paintings novels: “Crowded, incident-packed, meandering, digressive, unplanned. Conglomerations of marks.  Anthologies of moods.  Messy and non-figurative, but threatening at any moment to spill into image” at 356 Mission
4. Apropos of the current political scene in America and barbaric events worldwide, Lou Beach’s exhibition of new collages is titled, A Plague of Fools at Craig Krull Gallery
5. Yuichi Hirako paints brilliant and fantastical scenes in deep and wild forests where plant-like humans intermingle with elements natural and man-made. The artist is interested in the different meanings given to nature depending on religious and cultural backgrounds. In Japanese tradition, the forest is regarded as mystical and sacred, while in Western folklore, the forest is often portrayed as wild and barbaric. As all societies move towards greater dominance over nature, Hirako examines the desire for humans to coexist with the natural world at Fouladi Projects
6. In Entrance to the Void, George Condo condenses the disparate styles of his previous artistic periods into individual paintings that broach the void between figuration and abstraction. Moreover, his new body of work becomes a philosophical exercise in counteracting ideas of ‘nothingness’ through the visual consolidation of a personal, and in this case, artistic history at Sprüth Magers Los Angeles

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