Mixed Media

Fan Mail: Rachel Brumer

Rachel Brumer. Memory’s Main Gate XI, 2008; van dyke on hand dyed pima cotton, acrylic, wax; 22.5” x 29” inches. Image courtesy of Mark Frey.

Transitioning from one distinct medium to another is often a challenge—one that many artists attempt. However, not all accomplish it with the seeming ease of Rachel Brumer. Working in varying combinations of textile, installation, sculpture, photography, and collage, Brumer diligently investigates a number of subjects. Foremost in her work is an almost pathological focus on remembering and honoring people, places, and moments through what she[.....]

Terry Berlier: Erased Loop Random Walk at the San Jose Institute of Contemporary Art

Terry Berlier. Core Sampling (Tick Tock), 2009 (detail); FGR-95, dyes, steel, motors, MAKE Controller, computer, sensor, microscope camera, PVC, aluminum, pocket watch, and MAX. Courtesy of the Artist. Photo: David Pace.

From our partners at Art Practical, today we bring you Rob Marks‘ review of Erased Loop Random Walk, a solo exhibition of works by Terry Berlier now on view at the San Jose Institute of Contemporary Art. As Marks sees it, “Any despair over impending catastrophic environmental change evoked by [the work]…is balanced by a full-out sense of wonder and possibility.” This article was originally published on January 14,[.....]

Julia Rometti & Victor Costales: Savage Palms, Worn Stones, Moonshine Vision at Midway Contemporary Art

Julia Rometti & Victor Costales, Ediciones del Exotismo Ordinario Internacional Neotropical (detail), ongoing from 2011, digital prints on newsprint paper (lapel revolución). Courtesy Midway Contemporary Art. Photo: Caylon Hackwith.

At Midway Contemporary Art in Minneapolis, dueling 35mm slide projectors whir and click in a darkened back room. Perched on top of two of the room’s many bookcases (this backroom also houses Midway’s impressive library), these projectors cast their images onto a shared center screen. Each slide contains a simple form on a white background: a single geological mass anchored by a heavy shadow. Overlapped[.....]

John Sparagana: Crowds & Powder at Corbett vs. Dempsey

John Sparagana. Crowds & Power: The Revolutionaries, 2013; archival inkjet prints with oil stick, sliced and mixed, on paper; 58 x 92 in. Courtesy of the artist and Corbett vs. Dempsey, Chicago. Photo: Tom Van Eynde.

John Sparagana fatigues images by manipulating them. First he scans pictures and runs off inkjet prints, then he crumples the pictures in his pocket and kneads the glossy paper for days or weeks until the sheet’s fibrous structure is loosened. The result is a soft fabric more than double in size, with its original image lightened and diminished on the new surface, appearing like a[.....]

Graeme Patterson: Secret Citadel at the Art Gallery of Hamilton

Patterson_Graeme animation still 7

Despite its universal connotations, Secret Citadel, a mixed-media installation and video projection by Canadian artist Graeme Patterson, explores the nuances of male bonding and friendship from an intensely personal perspective. The narrative of the exhibition, currently on view at the Art Gallery of Hamilton, unfolds in four parts featuring two distinct characters—a bison dressed in blue and a cougar dressed in orange—at seemingly disparate stages[.....]

Jonathan Runcio: Glass in the Garden at Romer Young

Jonathan Runcio. Glass in the Garden, 2013; installation view. Courtesy of the Artist and Romer Young Gallery, San Francisco.

From our San Francisco Bay Area partner Art Practical, today we bring you a review of Glass in the Garden, Jonathan Runcio‘s current solo show at Romer Young Gallery. Author Danica Willard Sachs explains that Runcio’s work “dismantles the architecture of the city, peeling back the glossy finish to show the viewer the raw substrate.” This article was originally published on November 25, 2013. In[.....]

Fan Mail: Liliana Farber

Liliana Farber. Nighthawks, #16, 2008; photography, archival ink print; 30 x 20 cm. Courtesy the artist.

It’s hard not to get lost in the rich colors, abstract tensile lines, and intense shades of gray in Liliana Farber’s photographs and prints—and for that matter, in the endless rabbit hole of mouse clicks one of her web-based works elicits. Farber works in a series of potentially unrelated mediums, and in some cases, structures: video, ink on paper, photography, a website, and image manipulation[.....]