Sep 30

Catherine Wagley reviews Yvonne Venegas: San Pedro Garza Garcia



Yvonne Venegas: San Pedro Garza Garcia
Shoshana Wayne Gallery, Santa Monica

 

Yvonne Venegas, Zally, 2013. Courtesy Shoshana Wayne Gallery

After finishing school, the Mexico City-based photographer Yvonne Venegas worked for a few years for fashion photographers in New York, assisting Juergen Teller and Dana Lixenberg, two photographers known for walking the line between glamour and grit. Without reading too much into those years, it’s worth noting the respect she gives to her subjects’ beauty, and their desire to be beautiful. She frames her subjects in ways that make them immensely pleasing to look at, even when her images have complicated undertones. In the early 2000s, for instance, she photographed the wealthy matriarch Maria Elvia Hank, looking glamorous and composed, placing Christmas candles on a Reindeer-shaped candelabrum. But a servant bends down behind Mrs. Hank, picking up a candle she has dropped, revealing the infrastructure supporting the smooth presentation.

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Sep 18

An Interview with Yvonne Venegas!

 A WOMAN DEFINED
Art and Culture by Mahvash Mossaed

 A Conversation with Photographer Yvonne Venegas

September 16, 2014

Yvonne Venegas | San Pedro Garza Garcia | Shoshana Wayne Gallery | September 6 – October 25, 2014 | http://www.shoshanawayne.com/

I had the opportunity for a Q&A with artist Yvonne Venegas, whose photographs, entitled “San Pedro Garza Garcia,” are currently on exhibit at the Shoshana Wayne Gallery.

How did you first get into photography?

My father is a wedding photographer with a business in Tijuana, and he gave me a camera when I started high school. At first it was just for fun. I found photography to be an easy extension for me as I found in it another way to relate to people, which I enjoyed. At seventeen, I took portraits of my twin sister for the first time. That was, for me, a revelation, as I saw something that, in that moment, I thought I could keep doing for a long time. After that, I began to take photography classes at a community college in San Diego, and that was how my studies in photography began. It was 1988.

How has your work evolved since you first got started?

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Aug 22

KCRW on Rachel Lachowicz at LACMA!

Variations at LACMA

First Clue: Sculpture and video are both featured in this exhibition exploring abstract painting. Why? Because the curators are presenting “Conversations in and around Abstract Painting,” on view through March 22. As in any conversation, varying views come into play and, one may agree or disagree. It is an agreeable way to pass the time in any case, especially since most of the works on view belong to LACMA. Like most museums, LACMA does not have the gallery space to keep everything on view so this is an opportunity to see new aspects of their expanding collection of contemporary art.

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Aug 14
Join us for an artist talk Saturday, August 23, 2014 at 11:30 AM! Please RSVP to Alana Parpal : alana@shoshanawayne.com

Join us for an artist talk Saturday, August 23, 2014 at 11:30 AM!

Please RSVP to Alana Parpal : alana@shoshanawayne.com


Jul 22

Thank you to everyone who joined us for the opening of “In-Situ”!


Jul 8

Art in America interviews Izhar Patkin!

Interviews Jul. 07, 2014

Rendering the Veil: Izhar Patkin at MASS MoCA

by Phoebe Hoban

Izhar Patkin, Et in Arcadia Ego, 2012. Photo Gregory Cherin.

It took 10 years to develop the unique printer used to create the exquisitely rendered veils at the core of Israeli-born artist Izhar Patkin’s survey “The Wandering Veil,” on view at MASS MoCA (through Sept. 1), in North Adams, Mass. Covering 30 years of the artist’s work, the show includes several key pieces from the early 1980s, when Patkin, who moved to New York in 1977, showed with Holly Solomon Gallery. But at its heart is a collaboration between Patkin and the Muslim poet Agha Shahid Ali, who died in 2001 at age 52.

The central veil metaphor, Patkin explained in a conversation with A.i.A., came about because “we were both interested in veils, which we each had previously used in our work, and we decided that the Jew and the Muslim should meet on a veil. We saw the veil as a physical place of meeting, even though it was ethereal. It was a veil that was meant to reveal, not to hide, and then we took it from there.”

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Jun 28

Artnet news on Michal Rovner!

We Love Collecting … Digital Art

Astrid T. Hill, Friday, June 27, 2014

Michal Rovner Most (2011) (ed. 2/3) video/film, framed plasma screen and video.
Photo: Courtesy Ivorypress Gallery

In a recent New York Times article, writer Scott Reyburn asks: “Is digital art the next big thing in the contemporary art world?” 

That depends, in part, by what is meant by “digital” art. Of course many artists, Wade Guyton and Christopher Wool among them, have already made a trend of work that is, at some stage, digitally produced. Galleries everywhere are full of paintings, prints, and photos generated digitally and then printed. The distinction here is art that is not only digitally produced but also digitally displayed, very often on-screen. And while the market for such “on-screen” work is still small, the gap between digital production and digital display seems increasingly smaller.

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Jun 10

Artnet reviews Izhar Patkin at MASS MoCA!

Izhar Patkin’s Poetic Enchantments at Mass MoCA

Ranbir Sidhu, Tuesday, June 10, 2014

Izhar Patkin, Time Clipping the Wings of Love (2005–11)
Photo: Courtesy the artist.

In Time Clipping the Wings of Love (2009/11), Israeli-American artist Izhar Patkin takes a Sèvres porcelain, originally an erotic setting for a clock, and transforms it through physical deformation and the random application of glaze. It’s a piece that almost disappears in this vast exhibition, “Izhar Patkin: The Wandering Veil,” a midcareer retrospective on view at Mass MoCA through September 1. On closer inspection, figures emerge, arms, legs, torsos, breasts, women falling somehow. Splotches of dark brown drip along the melted women’s bodies, along with sharp lines of gold.

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May 31

Michal Rovner in the LA Times!

Review Michal Rovner charts ghostly migrations

Michal Rovner, “Current Cross,” 2014. Video projection. Audio composed by Heiner Goebbels. (Gene Ogami)

By SHARON MIZOTA

In Michal Rovner’s latest exhibition at Shoshana Wayne, the darkened main gallery becomes a cavernous, hushed space — like a chapel or perhaps a tomb — dominated by the elegant, wall-size video projection “Current Cross.”

It features two large, white rectangles composed of pulsing feathery marks that slowly merge into one and then divide again. Along their bottom edges, a steady stream of tiny black figures makes a ragged procession around the two chalky shapes.

Examined more closely, the shapes are also composed of thousands of little white ambulatory figures. Already elegiac, the rectangles are in fact teeming with ghosts.

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May 20

Michal Rovner featured on KCRW’s Art Talk!

A Weekend of Music, Movies and Plenty of Art


A Weekend of Music, Movies and Plenty of Art

If you’ve ever stood in front the famous 2,000-year-old Rosetta Stone at the British Museum and fantasized what it would be like to not only read its inscriptions in three different languages, but also to hear these languages spoken and even to see it in the process of being written, then, my friends, I have an adventure for you that will turn all these fantasies into reality.

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Michal Rovner, “Current Cross,” 2014
Video Projection
Nofim exhibition at Shoshana Wayne Gallery

Internationally recognized Israeli-born artist Michal Rovner is having her third solo show at Shoshana Wayne Gallery. Working in such diverse media as photography, painting, sculpture, sound and installation, Rovner is particularly celebrated for her video work.

 

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