January 30, 2013, 8:25am

The Darker Side of Brion Nuda Rosch

In his second New York solo exhibition with DCKT Contemporary, Brion Nuda Rosch comes at his subject-matter with some self-reflection and a little more grit.  Offering up a darker vision of himself as an artist, the show has a wonderful honesty that draws its viewers into the intimacy of the studio process.  Guarded with a dark humor, each piece is at once raw and confident, while building up to a larger, important conversation.

I had the chance to talk to Brion about his process, the new show and his darker side. - Alex Ebstein, Baltimore Contributor

January 28, 2013, 8:30am

Sandra Vásquez de la Horra at David Nolan Gallery

Chilean-born artist Sandra Vásquez de la Horra’s drawings are currently on view at the David Nolan Gallery in New York. In a show titled Entre el cielo y la tierra (Between heaven and earth), the figures and creatures that occupy her illustrations are amalgamations of biblical, mythological, and fantastical sources. Many of the drawings presented are new works, and a number are from her participation in the São Paulo Biennial last fall. - Nadiah Fellah, NYC Contributor

January 24, 2013, 8:30am

The Unf**kable Frontier: Q&A with Felipe Pereira Goncalves

The limits of the human mind have something to do with really big numbers. There’s no insight into knowing that Earth is one hundred million miles away from the Sun, for example -- it’s just real far. Partly, it’s a matter of scale. Cornell mathematician Steve Strogatz tries to rein in this vastness in his description of the Sagan Planet Walk, a scaled replica of the solar system in Ithaca, NY. There, Earth is the size of a pea and just a couple of steps away from the sun, itself the size of a serving plate.

January 22, 2013, 8:30am

In The Studio: Pairings with Eric Elliott

Eric Elliott's fourth solo exhibit at James Harris Gallery, called Pairings, shows a body of work getting much muckier. And the muck is getting more colorful. Paint, slowly and painstakingly built up in daubs, nearly curls off the canvas like calcified petals, resembling the flora with which he is obsessed. (His botanical illustrations fill notebooks scattered around his studio; dried bouquets languish in vases.) Elliott’s fascination with rendering the representational abstract is consistently apparent in his work: the subject of his paintings is sometimes legible, sometimes it spastically dissolves. Pairings takes this study of abstraction to a dialogic place.