Tag: gold

Mary Obering at Bortolami Gallery

Inspired by her love of art history and travel to Italy, New York-based artist Mary Obering infuses modern, minimal style with references to early Renaissance art to create dynamic and luminous paintings.  Bortolami Gallery’s current presentation of her work from 1972 – 2003 includes this 1992 painting that balances light and dark colors in a way that moves the eye around the canvas, creating a lively circular movement enriched by glowing panels of gold leaf.  Blocks of color in egg tempera – painted to show the artist’s hand through fluctuations of color – have an extra vibrant glow, adding to the uplift and pleasure of the piece.  (On view in Tribeca through Feb 26th. Masks and social distancing are required.)

Mary Obering, A2 + Y2, egg tempera and gold leaf on gessoed panels, 2 panels, total dimensions: 84 x 84 inches, 1992.

Olga de Amaral at Lisson Gallery

‘For me, gold is the sun,’ explains octogenarian Columbian artist Olga de Amaral as she describes the importance and stunning impact of the material in her textiles.  Hanging assemblages of gold-covered linen positioned near the door of Chelsea’s Lisson Gallery catch the natural light and resemble ancient carved stones; further in the gallery, this piece adds palladium, another metal that reflects light and adds to the luxurious quality of this labor-intensive artwork.  (On view in Chelsea through Dec 18th.  Masks and proof of vaccination required.)

Olga de Amaral, Memorias 6, linen, gesso, acrylic, gold leaf and palladium, 78 5/8 x 74 ¾ inches, 2014.

 

Felix Gonzalez-Torres at locations around the world

This pile of foil-wrapped candy by late artist Felix Gonzalez-Torres pays homage to a sheet of gold – an artwork by Roni Horn that gave Gonzalez-Torres and his dying partner hope.  Intended to be taken by individual visitors, Gonzalez-Torres’ free sweets are a gesture of generosity and an expression both of pleasure and of loss as the pile of candies gradually dwindles.  Similarly, his ‘Untitled’ (Fortune Cookie Corner) from 1990 offers participants a positive message in the form of a fortune cookie, piles of which are currently installed from Buenos Aires to Beijing in hundreds of places, from parks to public kitchens, outside of museums and stores and in private homes.  Initiated by Andrea Rosen Gallery & David Zwirner Gallery, the New York Times suggests that the project “addresses the grief of today’s pandemic – just as it did the AIDS crisis.”  (On view through July 5th.)

Felix Gonzalez-Torres, installation view of “Untitled” (Placebo-Landscape – for Roni), candies individually wrapped in gold cellophane, endless supply, overall dimensions vary with installation, ideal weight: 1,200 lbs, Sammlung Hoffmann, Berlin, 1993.

Wuru-Natasha Ogunji at Fridman Gallery

Inspired by women’s lives in her parent’s native Nigeria, US born artist Wuru-Natasha Ogunji’s considers the daily task of carrying water in her video, ‘Will I still carry water when I am a dead woman?’ Featuring several masked women walking the residential streets of Lagos dragging gold-colored water containers, viewers witness the toll exacted on the bodies of the exhausted and drenched participants. (On view at Fridman Gallery through Oct 12th).

Wuru-Natasha Ogunji, still from ‘Will I still carry water when I am a dead woman?, single-channel digital video, 11 min, 57sec, 2013.

Kiyoshi Nakagami at Ameringer, McEnery, Yohe

Kiyoshi Nakagami’s otherworldly abstractions, dramatically contrasting light and dark and rendered in pigment and gold dust, suggest a moment of cosmic creation or the beginning of an alien encounter. Scale and subject matter are hard to discern but the impact of Nakagami’s meticulously laid gold lines is profound. (On view at Ameringer McEnery Yohe gallery in Chelsea at the gallery’s temporary location on 19th Street).

Kiyoshi Nakagami, detail of Untitled, pigment and gold dust on linen, 72 x 72 inches, 2016.