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Brian Slattery |
Oct 12, 2018 8:12 am
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Sheri Schwarz
Sarugaku,
The overwhelming first impression of Sheri Schwarz’s painting Sarugaku is of panic, limbs flailing, mouths open in screams. Because it’s part of “#Unload: Pick Up The Pieces” — the new exhibit at the Ely Center of Contemporary Art on Trumbull Street, running through November 11 — you’d be excused for looking for the guns, the blood, the signs of injury.
The actual subject matter is chilling in a different way.
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Brian Slattery |
Oct 8, 2018 7:56 am
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Brian Slattery Photo
Kane and Rae.
A big sign at the entrance to Studio I greeted visitors there for City-Wide Open Studios’ Erector Square weekend. “Welcome,” it read. “We invite you to interact with our visual explorations into the topics of change and empaths.” Inside, artists Jennifer Rae and Christine Kane, who share the studio space, chatted with people eager to do just that.
“Talk about change,” Rae joked. “You should have seen the studio last week.”
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Brian Slattery |
Oct 3, 2018 7:15 am
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Jean Scott
Memory Tags.
The tiny portraits look like they’re tumbling through space. If we don’t put out our hands to catch them, they’ll fall and be lost. If we happen to be looking the other way, we might miss them altogether.
But they’re really just hanging on the wall, and the portraits are preserved for us to examine. They’re little pieces of the subjects for us to remember them by. And positioned as they are at the top of the stairs when you enter the Institute Library’s third-floor gallery, they’re an apt introduction to the library’s latest exhibit, “Shelf Life: History, Biography and Fame,” curated by Martha Willette Lewis and running now through Dec. 29.
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Zoe Matthiessen |
Sep 28, 2018 7:46 am
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This weekend a band of creative artists are embarking on a community quest: cleaning public spaces — and relaxing afterwards by making art inspired by the locations they’ve cleaned.
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Brian Slattery |
Sep 21, 2018 8:00 am
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Amid the three October weekends of programming Artspace has planned for this year’s City-Wide Open Studios is an art invasion of Yale West Campus on the weekend of Oct. 26 to 28. Dozens of artists from around the state will take over room after room of the facility, along with 12 commissioned works — focused on the theme of wellbeing — that range from an exhibit about dirt, roots, and insects to a communal steam room, to a dance piece, to a choir.
Inmates hammer a new split fork into old, repurposed gun parts.
Four New Haven Correctional Center inmates literally beat “swords into ploughshares” on Thursday as they forged new garden tools from donated and repurposed handguns, shotguns, and assault rifles.
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Brian Slattery |
Sep 20, 2018 7:59 am
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Sven Martson Photos
A woman standing with a girl on a crowded street, the girl with her arms around the woman. Two kids on rafts in what looks like a canal, viewed through wire mesh. A row of columns holding up a portico, the last one crumbling, a soldier peeking out from the space in between the stonework. A child with a stick and a toy car striding by a sign that suddenly places us in history.
“You are entering the American sector. Carrying weapons off duty forbidden. Obey traffic laws,” the sign reads. The instructions are repeated again, in Russian and French. The last line is in German. The German text makes no mention of weapons or traffic laws, as if the Berliners reading it don’t need to be reminded.
Or is that the right interpretation? What does the omission mean?
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Jake Dressler |
Sep 20, 2018 7:58 am
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New Haveners sipped booze and soda out of iconic anthora cups while appreciating the art of Michael Angelis at a pop-up show at 169 East St., the studio where he collaborated with Lunch Money Print to host his latest exhibit, “Disposable Aesthetics.”
The show gained popularity after his anthora cup print sold out in preorders.
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Brian Slattery |
Sep 12, 2018 7:59 am
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Paulette Rosen
Lifetime.
There isn’t any signage at “In Range,” the biennial faculty exhibition in the gallery at Creative Arts Workshop on Audubon Street stating explicitly that the 27 participating faculty artists swap ideas constantly, in conversations, or by dropping by one another’s studios while they’re working on their own art. But the pieces in the exhibit itself — which runs through Nov. 3 — suggest that they do, as common themes run throughout this delightfully diverse display of the CAW faculty’s ever-evolving talents.
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Brian Slattery |
Sep 7, 2018 8:00 am
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Brian Slattery Photo
Meg Bloom.
From the title of Meg Bloom’s and Howard el-Yasin’s collaborative exhibit, “Within These Walls” — up now at City Gallery on Upper State Street until Sept. 30 — you might be forgiven for thinking of a certain border wall that may or may not yet be built.
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Brian Slattery |
Sep 5, 2018 12:13 pm
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In one portrait, a man with glasses gazes from the frame, friendly but appraising. In another, Ruth Bader Ginsburg peers out from a background swirling with color, bringing all her intelligence and experience to bear to size up the viewer. In a third, a woman, nobody’s fool, gazes out from a scintillating wall of hues, a clock tower to her left.
It turns out that the woman is Marilyn Walton, a construction worker, hairdresser, and business owner who happened to be the grandmother of artist Jaida Stancil. Ruth Bader Ginsburg is, of course, Supreme Court Justice Ruth Bader Ginsberg, rendered by Aliya Anna Hafiz. And the man with the glasses is artist Salvador Bacón, father of Patricio Salvador Bacón Guaray, who painted his father’s portrait.
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Brian Slattery |
Aug 23, 2018 7:35 am
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The road to Kennies Earl Kreative House — an all-purpose creative space for photography, music production, theater, and workshops on Shelton Avenue — started in Earl’s stepfather’s apartment about 15 years ago, when Earl, still in college, got a synthesizer and started to use it.
His stepfather, Earl recalled, “thought I was making too much noise.”
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E.A. McMullan |
Aug 21, 2018 12:28 pm
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Kim Weston
Emitting.
The sky is clear in Emitting. A dancer, hair cast in every direction, enveloped in the ghost images of feathers, is moving, moved, and about to move in a long exposure. Photographer Kim Weston has collapsed a long moment into a map of this dancer’s heat and spirit.
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E.A. McMullan |
Aug 10, 2018 12:18 pm
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Molly Gambardella
Blossom.
A burnished ornate candle holder stands beside a small Buddha balanced on a saffron paperback titled Love. Behind it, a vase erupts with gentle orange tulips. A plastic orange basket supports a slab of hardwood with a small painted alligator’s head. More pensive paperbacks share a plastic orange cutting board with another case of tulips, copper cups, an orange, and a candle. Beneath, there is a profusion of orange berries and petals in an orange wicker basket, resting beside a box of markers and pens: all siennas, vermillions, golds. This Titian tableau is an introduction to the idea that, as the title of a new art exhibit at Lotta Studio states, nothing rhymes with orange.
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Carly Wanna |
Jul 27, 2018 7:55 am
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Carly Wanna Photo
Adam Malec invested eight weeks into crafting a patterned, reflective wall bursting with eclectic zigs and zags. He constructed it by hand — only to tear it down.
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Brian Slattery |
Jul 25, 2018 12:01 pm
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Brian Slattery Photo
Olguin.
On Tuesday afternoon, two piles of soil had been dumped in the corner of the back gallery at Artspace on the corner of Orange and Crown Streets. Two shovels protruded from the piles. Artist Ruben Olguin stood over a wheelbarrow, adding water to its contents, then mixing it with his hands. In a rack near the window, a row of bricks lay in the sun to dry.
Olguin was practicing a craft he learned from his grandfather — a craft millenia old — in the service of a new art project about who gets to use the earth, and for what.
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Brian Slattery |
Jul 20, 2018 7:52 am
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William Henry Fox Talbot
The photographer’s daughter, Ela Theresa Talbot, 1843-44.
The images themselves are unassuming, small and faded. It can be like that at the birth of a new medium, a new technology. And thanks to the Yale Center for British Art’s absorbing special exhibit, “Salt and Silver: Early Photography 1840 – 1860,” we get a sense of what it was like to be present at the creation, to be there for photography’s first hesitant steps, and then, like a gifted child, its astonishingly quick spread across the globe — full of promise and already containing the seeds of the medium’s future. It connects to now in a flash.
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Brian Slattery |
Jul 19, 2018 7:43 am
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A scene from The Saddest Day.
In The Saddest Day, a man looking for his brother is helped and accosted by a man wearing a cheerleader’s outfit. In Steeping, a detective who keeps getting beaten up on the trail of an investigation doesn’t know how much he’s being played — until he does. In G.R.C.E., a space explorer runs into trouble on his mission. And in Friendly Advice in a Coffee Shop, a woman and a man try to renegotiate a relationship, but their cleverness keeps getting in the way.
They all have a few elements in common. They have characters named Grace Broha. They have cheerleaders. They have the line “let me tell you something.” And most of them were made in New Haven — all of them as part of New Haven’s chapter of the 48 Hour Film Project, now in its eighth year and going strong.
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Brian Slattery |
Jul 16, 2018 7:51 am
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Marsha Borden
Lost at Sea.
It’s an ocean of undulating plastic, crinkly blue waves rising and falling. From a distance it looks soft, almost like yarn. When you get closer you can tell it isn’t. And then you notice, up in the corner, our lonely planet, on the verge of drowning.
Lost at Sea is one of several works in “Remixed: A Kaleidoscope of Plastic,” on view at the gallery in the Ives branch of the New Haven Free Public Library on Elm Street now until Sept. 7. In the exhibit, artist Marsha Borden examines, with equal parts playfulness and pensiveness, the strange dynamic in the way we casually acquire and dispose of single-use plastic bags in our day-to-day lives, and the way they are accumulating at an alarming rate across the globe.
