Ryan's artwork shows delicacy and a deep understanding of perceptual dynamics in contemporary vision

Result #1

. This subtle subtle balance of oppositions, rooted in the traditions of math and the scientific, is typical of her work, and her signature format, a vertically stacked grid of four four-by-four-inch panels with an equivalent grid of four-by-eight-inch panels, seems the natural complement to her undirected flow of energies.

Result #2

Ryan's artwork shows delicacy and a deep understanding of perceptual dynamics in contemporary vision. Perhaps this is why he is among the most interesting of the new American figurative painters.James Welling is a painter with a few minor exceptions—a work entitled Red/Black Acrylic, is an old-school look and not very hard to overlook. Despite the fact that the painting has some of the mottled, rust-colored grays of the find. It is a visually appetizing, but not many, color combination and size. It has an intimacy and osmosis that some other, nonabstract works fail to achieve. I do like it in that it seems to be free of the vastness and solemnity of an even more attractive so-called hard-edge geometric abstraction. Welling seems to prefer color-photographic opacity to color-realism, and, as a result, he uses color-constructions which have an oddly plastic, even formulaic quality, even when all the subject matter is still there. And they are used in the most conventional of formal-picture formats, very much so. For example, as in Bury, Welling has a plexiglass construct which is half a city and half an abstract picture. However, the city he represents is a suburb of Chicago, the two-dimensional piece is a regular rectangle of yellowish blue, and the rectangle which makes up the city is also a rectangle, about half as large. The most expressive part of this construct is the color, which is almost abstract, in its very cheapness, however, it does not beget the really ugly, corrosive-black smear which is the more conventional, or, in other words, abstract, component of the image. This works with the artist's sensibility: he can make the surface as beautiful as it is by working in any number of ways, painting, drawing, or painting on top of the surface.

Result #3

Ryan's artwork shows delicacy and a deep understanding of perceptual dynamics in contemporary vision. One of the paintings in the show, Untitled (Cigarette), 2014, consists of a narrow strip of the opaque gray, laid horizontally across a few inches of the bottom edge of the canvas, which occupies the lower right half of the composition. The piece feels organic and alive, like a colon that bursts its cocoon into an anemone, or a vein of water drooping into a flower. As in a daydream, the subject is not beyond description. The lower half of the composition has been illuminated and a second part of the composition seems to be a focus on the right side of the canvas, just below the lower edge, where the gray has settled in a moment of embrace, or perhaps because of the peeks of light emanating from the small circular glass of soda (the only part of the painting that is not illuminated) that is visible at the bottom of the painting. These details resonate with the main shapes, particularly those of the aluminum sheet with which the whole composition is painted, and with the radiator shroud—a material as mundane as an aluminum can and, with its coloration, as iconic as a radiator, its flat surface reflecting the wind. The strip of gray, by contrast, looks like a synthetic window, a barrier between the main forms. By placing the work at a remove from the objects it inhabits, McLaughlin forces us to consider the storyboards that inform its production: how it shapes its theatrical setting and how it constructs and photographs the imaginative spaces that comprise it.In the exhibition at the gallery, McLaughlin expanded on her transference from the conceptual to the physical, through which she transforms her time in the United States into an immediate, intimate time. The shows title, All Seeing, is a performance, a visual conversation between artist and audience that is staged in the gallery and between the artist and the gallery staff. McLaughlin films the interaction of the two, asking what they think about her work and how it affects them.

Result #4

. A sense of quietness and ease is illustrated by his subject matter: abstract architectural models, architectural spaces, statues of gods, superstitions, and figures of magic. The juxtaposition of opposites—marbleized wood construction, low materials, and an essentially domestic palette—demonstrates a clear-cut relationship to his carefully considered works.Not all the pieces in the show achieved the level of brilliance and subtlety that makes good Minimal work so effective. Many were simply small, cute, or casual in appearance, and at first glance they might have looked like toy parts with an abstract motif. Yet there was a precision to the individual pieces that emphasized their practical value and formal independence, and even their ironic oneiric quality. More important, however, is what this work teaches us about the capacity of children to engage with art and imagination. The tools and references used by the artist to produce these surreal objects, however simple they appear to be, carry with them power and meaning, and they make clear their source in modern cultures increasingly complex past. At the same time, their function as instruments of communication and artmaking is also underscored by the fact that the geometry of their simple forms appears to be the result of living on the edge of a cutting edge in social and economic relations. This is one of the themes that emerges in Rosenbergs work, particularly in his object sculptures. These represent the artists approach to solving the art-making problem and to designing a viable architecture. Rosenberg doesn't spend much time with the traditional skills necessary for such a task; he embraces the expressive power of the simplest means and embraces the possibilities of abstract forms that evoke such profound meanings as both words and symbols. The work of this artist is more about having fun than the production of art.At the same time, Rosenbergs practice is marked by a certain intensity that is almost exaggerated in comparison with the many other sculptors working in the same vein.

Result #5

Ryan's artwork shows delicacy and a deep understanding of perceptual dynamics in contemporary vision—that is, one that is willing to accept the limitations of such vague pictorialization. Such a deep, equivocal sensibility is apparent in works like the topography drawings, which are written in white chalk, the more intimate, architectural lines being more directly drawn. But the materials are utilitarian: wet paper, black powder, cotton, sticky tape. Though not technically and formally innovative, the drawings are the result of the realization of a mechanical script which has been printed with a variety of graphite layers. And these drawings, having been turned into architectural designs, become a kind of construction paper for the structure of the building and of the city itself.These and other pieces can be read as allegorical re-creations of the Düsseldorf school of architecture, more influenced by the rationalist utopias of architect Bernini than by the form and aesthetics of Minimalism. They become a defense against the absurdities of perception in a world made by mechanization and by machines. Like Joseph Beuys, Friedrich Kittler, and Nikola Tesla, Auerbach feels that the field of abstract art has been overrun by technology. We have reached a time when we are confronted with a world of physical reality reduced to a vanishing point, a time when communication with the outside world is almost entirely automated. Auerbachs drawings and constructions are a defiant attempt to hold the gray area of human perception in a precarious position. In his drawings he represents a desire to readjust our perceptions to the mechanized world. The minute, gesture-perfections of the drawings become the same as those of mechanical abstractions, like Morse code. In one such drawing, Auerbach has cut a circle of earth with a knife, leaving an opening in the wall, which is filled with earth-flakes. The work is an argument for the continuation of art—its function as a defense against a world made entirely of moving parts.