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Showing art results: From 31 to 41


Kamonchanok Phon-ngam: "Threads of Inner Harmony"
by Tris McCall
published 2025-07-30

A fact that children know but grownups often forget: if you've got a pair of buttons and a length of string, you have all it takes to make a face. A sweet face, too, friendly and approachable, since string is soft and pliable, and everybody likes to fasten and unfasten buttons. Stitched smiles and shiny plastic peepers win us over quick, and even dolls assembled for mean scraps of fabric and loose twine speak straight to our deepest pleasures and protective impulses. Textiles, it turns out, are tethered to the heart. They remind us of our first tactile experiences, and the small, sheltered, hopeful world we inhabit before we've even got words to attach to what we're seeing.




 

"North Jersey Photographers" Exhibition"

by Tris McCall
published 2025-07-23

A photograph of a house tells us something important about the photographer. She's not inside it. A painter, a sculptor, or a printmaker can work from memory. She can sketch a building from the street, unlock the door, and render a picture of the exterior from a studio on the interior. The photographer doesn't have that flexibility. For her, creation of a work of art implies separation from her subject. Maybe that's why photographers always feel like outsiders.



"Envisioning Our Future"

by Tris McCall
published 2025-07-16

We have thoughts about the Sixth Street Embankment. It would be odd if we didn't. Anything that heavy is bound to leave an impression on sensitive souls. The great stone sleeper has dozed for years, unperturbed, as the rest of the town has changed around it. Court cases, environmental studies, and action plans from transportation agency aside, our ongoing reluctance to change the Embankment has a superstitious quality about it. Do we see it as a giant paperweight, without which the entire Downtown will fly away into the turbine of international capitalism? Or does the long black wall feel more like the body of a beast, a serpent from a Hudson County version of Midgard, inviolable and primordial, and too dangerous to touch?



Luke Jerram's Museum of the Moon to orbit Rahway in October

(RAHWAY, NJ) -- Museum of the Moon, a touring artwork by U.K. artist Luke Jerram, will be presented inside the majestic Union County Performing Arts Center (UCPAC) in October 2025. This is the first time Museum of the Moon will be presented in New Jersey and one of a handful of times it has been exhibited on the East Coast in the United States.



"Summer Mosaic"

by Tris McCall
published 2025-07-02

Suddenly, the galleries in the Garden State are suffused with sunshine. The big ball of fire in the sky has gotten down to business, and curators have been keen to pick pieces that reflect the effects of the rising mercury. Galerie Lucida in Red Bank — a favorite among Jersey City artists — launched a summer-themed show. In McGinley Square, the curators at Crema assembled their own crew for a visual commentary on the warm months; Project Greenville mounted a group show dedicated to representations of parks and greenspace; Drawing Rooms switched on an aesthetic equivalent of lightbox therapy with an exhibition that celebrated the color yellow. Art spaces have become tanning mirrors, capturing light and refracting rays toward our retinas.





DS Special Projects

by Tris McCall
published 2025-06-25

If you're looking for the place in Jersey City that is farthest from deep space, Hamilton Park would be that place. Everything about the neighborhood is intensely terrestrial. It's green, it's full of life, and it's the home of many people who are proximate to earthly power of one kind or another. Hamilton Park exudes a spirit of closeness, with street-level businesses and stoop-level life, the rest of the Downtown in walking distance, and New York City on the far side of the tunnel. Those who convene there do not seem like lost astronauts. There's too much at their fingertips for them to bother thinking about the void.



"Everyday People"

by Tris McCall
published 2025-06-18

Portraits are paintings that look back. We know that the sitter doesn't actually see us, but part of us — the part that secretly believes in ghosts — suspects that there's an essence in the frame that is oriented outward. As anybody who has ever ventured into a family picture gallery could tell you, that can be uncomfortable. Art appreciators will sometimes say that the eyes of great portraits follow viewers around the room. They're less upfront about whether that's a good thing or a bad thing. Do they chase you like the admiring glances of a lover, or do they stick with you like a guilty conscience?



Eksioglu & Gross: "Tension & Tenderness"

by Tris McCall
published 2025-06-11

All art is sequential. As long as we exist in time, we're condemned to see one picture after another and carry our associations from the first thing we see to the second, and third, and umpteenth. Though an artist can attempt to dictate the sequence, her authorial control is far from absolute. A cartoonist can guide us from frame to frame, but there's nothing to stop us from leaping to the punchline. A curator can ask us to navigate a conceptual mini-golf course, but we may putt right around the trickiest obstacles.



"Stick Around for Joy"

by Tris McCall
published 2025-06-04

C.S. Lewis suggests that angels tell us to "fear not" because they are so fearsome. As corroborating evidence, he quotes scripture: the seraphim are described as massive creatures with great occlusive wings and bodies covered with eyes. To stand in the presence of one would be a terrifying thing. And it is by this sign that we may know them. Being not of this earth, the divine is not likely to be beautiful by earthly standards, and hey, what do we mortals know about celestial glory anyway?



Rene Saheb: "Stories, Transformed"

by Tris McCall
published 2025-05-28

Rene Saheb keeps her garden well-watered. Her canvases and sculptures aren't wet to the touch, but they look like they could be. Drippings run down the surface of her acrylic paintings in bunches. Her sculptures, too, are plump and glistening, full of stacked sacks with pregnant curves and apertures that appear ready to pour something forth. Her colors, too, have the softness, transparency, and blurred quality of flower petals left to soak in a bowl overnight. She gives us undulations, folds, and rich thickness. A Rene Saheb scene always feels a bit like a glade right after a rainstorm: everything ripe and effulgent, with shadows in the mist, and growth happening so fast you could swear it's happening right before your eyes.


 

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