Jim Osman, Stack, Lesley Heller Workspace
Jim Osman's "Stack" will hold its opening reception at the Lesley Heller Workspace on Sunday, March 10 from 6-8pm.
In Stack, Jim Osman's second solo exhibition at Lesley Heller Workspace, wood scraps - literally castoffs from the working process - rise vertically and with a casualness that disappears on closer vieW. Wood, either sanded smooth or retaining the splintery surface of the natural world, mixes with paint and a surprising palette of laminated paper. Some pieces are small enough to be contained in your hand, but have the complete logic of a sculpture. While the largest, "Compass," hovers in its own space. The new work began when Osman was in one of those in between moments in the studio. He looked at this field of colored shapes and started to stack them, the goal being to make them stand on their own. The beauty and logic of the forms grew naturally, as he applied counterweights, cantilevers and simple joinery, allowing for a range of relationships to build. While Osman has worked horizontally, where shapes had a conversation more like landscape, the verticality of the new work allows the pieces to express how they were built and stand up in an honest, direct way.
Jim Osman lives and works in Brooklyn, New York. He is an assistant professor and director of the Foundation Program at Parsons The New School. Osman has had residencies at The MacDowell Colony and Yaddo and received grants from Parsons and the Brooklyn Arts Council
In Gallery 2 at Lesley Heller is "The New Picture Plane" with David Brody, Devin Powers, Tony Robbin, Jered Sprecher, Siebren Versteeg, and Laura Watt.
The New Picture Plane looks at the work of six painters who explore the changing consciousness of space. In each case, computational systems are used or referenced, but the resulting image is more than the simple product of an algorithm. There is a subjective, often expressive element infused into the logic of the picture. Much as Romantic painting's depictions of ruins signaled the rejection of the classical model, the tendency to favor complexity over the reductive, clean uniformity of non-gestural abstraction, points to a changing definition of space and order in The New Picture Plane painters. The show focuses on artists who explore space influenced by science and technology through the ancient practice of painting.
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