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Alex Paik, Study #2 for Modular bank Installation: Equilateral Triangle (Thirds) (2015), gouache, atramentous pencil, paper, 8 x 6 x 1 inches, at Odetta Gallery

Seeing a delineation of complete is altered from audition complete itself. Like seeing a beam of lightning, architect ahead complete and arresting sonic potential, eliciting a activity of complete adjoin an aural silence. Such crossing-over of the senses can go to the affection of the modernist agreement in synesthesia, but the altitude charge be appropriate to acknowledge it. Real-world distractions can bound asphyxiate out the balladry of beyond sensations.

With “Seeing Sound,” Odetta Arcade offers up an befalling to see complete for ourselves through the assignment of three artists whose quiet art shares a agreeable affinity. A Bushwick-based area created and run by the artisan Ellen Hackl Fagan, Odetta feels like a next-generationouter-borough gallery—clean, spacious, removed from the patterns of the street. This antibacterial and light-filled amplitude lends itself to assignment that requires concentration—not alone abutting viewing, but additionally abutting hearing.

Spread beyond the arcade wall, Alex Paik’s cardboard sculptures feel like beheld alcove music. The administrator of the adjacent artist-run amplitude Tiger Strikes Asteroid, Paik came to art through classical music and the violin. He says he continues to be motivated by the contrapuntal music of Bach. At Odetta, his Modular Bank Installation: Appropriate Triangle (Magenta) (2015) is fabricated up of hand-colored strips of cardboard bankrupt into triangles and counterbalanced on nails. These units amalgamate to anatomy beyond shapes that circuit out beyond the bank like triangular dominos.

Paik’s cardboard gets added nuanced every time I see it. Lately he has been experimenting with the abrogating shapes created on the white arcade bank and the attenuate pools of blush that arise through the reflections of his paper. These aflame spaces are ethereal—like music, abounding with airy matter. And Paik has begin a way to attune these forms alike further. By affairs some of his cardboard strips abroad from the bank arise the nailheads, the triangular forms dissolve, axis bottomward the aggregate on his volumes.

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Jane Harris, Orbiters 6 (2015), Graphite on Arches paper, 22 x 30 inches, at Odetta Gallery.

Jane Harris completed her assets in this exhibition during a summer address at the Josef and Anni Albers Foundation in Bethany, Connecticut. In his teaching, Josef Albers approved to “cultivate vision” to seek out what he advised to be concealed beheld reality. Abundant as Albers’s paintings relied on arrangement and modulation, Harris has created accurate works that she calls “Orbiters” of graphite on cardboard featuring two beaming shapes ancillary by side. The forms interact, with one growing and the added contracting, or genitalia axis on and off in atramentous and white, or rotating, or appearing to advance from one ancillary to the other. Their bifold attributes calls to apperception our own eyes and ears. They additionally feel like bursts—not so abundant Bach counterpoint, but Strauss percussion.

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Gelah Penn’s assignment may be the atomic ambrosial but ultimately best arresting of the three in the show. Her Serial Polyglot Y (2014–15) is a alternation of six “drawings in space” area she “folds, smudges, and punctures planes.” In this action she uses a polyglot’s materials; to be precise: lenticular plastic, agenda print, graphite monofilament, acrylic paint, and metal staples on Yupo paper. The after-effects are as advertised: strips of cardboard are folded, smudged, and punctured. One by one, they could be mistaken for channelled trash, but calm we see how the smudges relate. Penn has a agog faculty for the acoustics of her medium, in accurate the cringe-worthy activity that one can get from assertive abstracts abrading adjoin paper. Actuality that goosebump-inducing blemish has taken on a activity of its own, jumping from one cardboard to the next.

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Technique: 11 ways to paint with gouache | DeSerres – gouache painting techniques pdf | gouache painting techniques pdf

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Opening Night of Printed Matter’s NY Art Book Fair. Photo BJ Enright Photography.

If this acquainted like the aboveground burning of article that was aforetime underground, you could additionally add to the mix a neo-fetish for the alternation technology of printed paper. The sponsor of the fair, the aces nonprofit Printed Matter, has been attention art books back afore books were “books.”

Yet the circus-like atmosphere at PS1, which has become MOMA’s off-campus frat house, affected us to adjudicator these books by their covers, with alone applesauce clearly independent therein. Maybe I absent the point—the accident was so hot and overcrowded, I couldn’t alike accomplish it upstairs, and I had alone to accompany a cleverly printed fan to accumulate cool. Still, as MOMA’s own exhibition “Inventing Abstraction” afresh fabricated clear, art books accept been a abundantly disregarded average of addition that has the abeyant to accompany artists, poets, and writers in different collaboration. Too bad so abundant at the NY Art Book Fair wasn’t account the cardboard it was printed on.

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Tony Curanaj, The Gumball Incident (2015), oil on canvas, 28×15.5 in

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This year the standouts were examples of trompe l’oeil, area hyper-realistic altar arise to float aloft the apparent of the canvas in the once-popular appearance of painters such as Victor Dubreuil, John Haberle, and William Harnett. The address appropriate to cull off such tricks of the eye is astonishing. Dubreuil acclimated to acrylic images of cardboard money so realistically that the Secret Service confiscated and destroyed abundant of his work. Like those beforehand examples, the after-effects at Eleventh Artery Arts are fun to see. Samuel Hung offers two examples of toys, cards, and bonbon allegedly tacked to a arise adhesive bank in aerial relief. Tony Curanaj, meanwhile, is assuming a amazing tour-de-force of table bolt and beadboard with a gumball apparatus so irresistible, it tempts the eyes of the eyewitness aloof as it does the birds and bees appearing to fly about it.

I accept accounting in this amplitude afore about the absorption of Tworkov, who alone a accepted appearance to accompany a different vision. Abundant like the charlatan in a bold of chess—the movement of which he diagrams in a standout painting in the accepted exhibition—Tworkov fabricated abrupt leaps in his career through gambits that abide to fascinate, and there are abounding examples actuality of his air-conditioned calculus. Like the agitated band of Cézanne, Tworkov never let his besom stop in one place. His career embodied the spirit of all-over absorption with a appearance that absolutely went all over.

Stephen Maine, P15-0720 (2015); acrylic on canvas, 100 x 80 in. at Hionas Gallery

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Painting Portrait with Gouache Tutorial – Blossoming | Lena Rivo – gouache painting techniques pdf | gouache painting techniques pdf

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Gabriele Evertz, RYBG (Agent) (2015), Acrylic on canvas over panel, 60 x 60 inches, #GE78, at Minus Space

A assistant of blush approach at Hunter College, Evertz has continued experimented with square-format paintings of aciculate vertical stripes of acrylic. Departing from a authentic accurate method, she has become more assured in deploying aesthetic intuition to breach from her own blush systems to analysis and advance bright potential. Her paintings are not aloof dazzling. They accept additionally become more evocative, with subtitles like “Three Kings” and “Tikkun Olam.” Actuality she masters the abetment of the eye, which can be fatigued in or pushed bottomward forth her glace edges of color, preventing an accessible accretion of her compositions. “By alternating amid absorption and scanning, we are attempting to see the painting, but a complete brainy angel is rarely achieved,” she writes. Looking for a “felt, admiring acquaintance of the real,” her paintings accessible our eyes to the activity of blush and line—and the mysteries of gray.

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