Review

February 12, 2014, 4:35pm

Iva Gueorguieva’s Surface-Effect

Iva Gueorguieva’s (NAP #73) paintings, on view at Ameringer | McEnery | Yohe in New York, bring a breathe of California sun to our frigid New York winter. Working up the surfaces of her large canvases into almost a fetishized frenzy, the paintings are abstract, yet indicative of movement. By denying viewers the ability to rest their eyes on any one component for too long, her works are both mesmerizing and disconcerting, inducing frustration as one tries to pinpoint figures or structures within the compositions. Fractions, edges, and suggestions of such imagery exist, but are ungraspable as they dissolve into the chaos of each scene. – Nadiah Fellah, NYC Contributor

Installation view, Iva Gueorguieva at Ameringer | McEnery | Yohe, January 30 – March 8, 2014. Courtesy Ameringer | McEnery | Yohe.

February 06, 2014, 3:21pm

Soul Seeking: Alexandra Grant at Lora Reynolds Gallery

Have you ever Google'd yourself? (Is it profane even, to use 'Google' as a verb?) As we leave digital footprints over multiple social media platforms, like a slightly exaggerated profile on an online dating site or a carefully composed Instagram shot (to one-up our friend's idyllic beach photo), we may ask ourselves 'how much of me is there?' And how much of that factors into our presence in and understanding of the greater physical world? In Century of the Self, organized by independent curator Sarah C. Bancroft at Lora Reynolds Gallery, artist Alexandra Grant dives into feverishly detailed compositions that embrace language as both quotable texts and visual tools. — Brian Fee, Austin contributor

Alexandra Grant | Alexandra Grant: Century of the Self installation view, January 18 – March 15, 2014. Courtesy the artist and Lora Reynolds Gallery, Austin.

January 23, 2014, 3:35pm

Perpendicular Painting: Zoe Nelson at Western Exhibitions

Record collectors are only ever concerned with what track is on the a-side. Not many will pay attention to, or often even know, what exists on the flip of their 45s. An exhibition of Zoe Nelson’s (NAP #95, #107) newest paintings, currently on view at Western Exhibitions, questions the very nature of a “good side.” My go-to reference for Nelson’s work has always been its lyrical qualities – though this exhibition references the history of that trope in painting as much as it does an x-y coordinate system. What better way to reference the spatial placement of the work than through its Cartesian properties? For Nelson, the grid is treated not as a pretext, but as a challenge. Paintings extend off the wall, appearing to fill the visual gap of the wall space left behind it – the sound or harmony within the work, if the exhibition has such an affect, directly plays off their relation to the viewer, as if the exhibition itself is a changing composition, shifting space ever so slightly as the viewer navigates around it.

While Nelson’s past paintings were entirely evocative of Supprematist abstractions, the new work exists more dimensionally, in the round. Favoring a democratization of space – or we could just as easily say the flipside – the “front” or the “back” of her paintings seem to not exist, or be discernable. There is an equality to the treatment of the painting’s entire surface area as an object that speaks to retelling of dated mid-century patterns and ideologies; a history of steadfast modernism unhinged from its context. In line with its audile perspective, the emphatic physical presence of the work maintains a discordant tension – at once occupying space, as it attempts to flatten it. – Stephanie Cristello, Chicago Contributor

Installation photographs by James Prinz. Image courtesy of Western Exhibitions and Zoe Nelson.