“Dennis Maher: House of Collective Repair”
Through May 12
In 2009, local architect and artist Dennis Maher bought a house on Fargo Street for $10,000.
Since then, he has stripped back layers of wood and paint, radically reconfigured the interior structure of the building and filled it with an always shifting collection of oddities, thrift store finds and sculptural objects of his own design.
The show features sculptures by nine local contractors, each of whom was invited by Maher to visit the house and draw inspiration from his work to create their own pieces of art. The results – from a model house made from roofing materials by contractor Chris Ziolkowski to another house model that doubles as a guitar by window and door expert Dan Farrell – challenge viewers to think more deeply about the materials that surround them.
Maher told The News in September that he was excited that the gallery had chosen a local artist for a residency. The entire endeavor, from the house to the work of nine local contractors, he suggested, is an attempt to paint a picture of the city in an entirely new way.
“I call this whole project a city-house model,” he said. “I think about this as kind of consolidating the energy, the movement of things in the surrounding world of social, economic material exchanges and bringing them into the boundaries of the house.”
“Agnes Martin: The New York-Taos Connection (1947-1957)”
Through May 12
When some artists come face to face with their early work, a kind of instinctual revulsion sets in.
For these artists, the idea of confronting a flawed painting or a piece that no longer fits into their artistic approach is just too painful to bear. So these artists – among whose ranks are some of the best ever to set paintbrush to canvas – make a concerted effort to destroy that work.
Martin, the enigmatic painter known best for her stern, minimalist paintings featuring austere grids, was one such artist. While living in Taos, New Mexico, in the 1950s, she created 100 or so abstract paintings that are very different in style from the work she’s most famous for. So Martin, motivated by that feeling of disgust familiar to so many committed painters who have methodically destroyed old work, did away with as many of them as she could.
But she missed a few. And these paintings, which reveal a different side of an artist many in the art world only think they know, are the basis for this exhibit. The show originated at the Harwood Museum of Art in Taos and was organized by Harwood curator Jina Brenneman.
The exhibition features a series of biomorphic abstract paintings, which will give context to the Albright-Knox’s modest holdings of Martin’s work, which includes the quiet 1965 painting “The Tree.” Albright-Knox Chief Curator Douglas Dreishpoon will also pad out the exhibition with works on paper and other paintings by Martin from the gallery’s collection.