Anne Prentnieks

  • Sarah Jones, The Rose Gardens (display: III / white) (II) and The Rose Gardens (display: III / white) (III), 2008, diptych, C-prints, overall 120 x 96”.
    picks September 10, 2013

    Sarah Jones

    Sarah Jones’s haunting photographs visually lead one on a careful journey through physical and intellectual spaces. In this exhibition, thirteen dogmatic large-format pictures create robust portals that are cognitively familiar. One striking diptych of a Rembrandt-like garden in a London park depicts fragile white roses as if emanating from a cavernous dark abyss. In tall panels that show front and back views of the garden amid the twilight, the flowers are captured at their ripest moment, blooming on the edge of decay and yet enlivened by the camera’s imposing duration. Jones employed long

  • William Daniels, Untitled, 2013, oil on board
41 3/4 X 38 1/2".
    picks July 26, 2013

    William Daniels

    William Daniels’s new psychedelic paintings build on his ongoing methodical study of materiality, light, and form with paint. The show’s eight oil-on-board works were developed via Daniels’s three-part process that begins with building maquettes—for this series, aluminum foil arches—then photographing the models and finally reproducing the photos with paint. The results are richly articulated quasi-Photorealist depictions of light, space, and contour, as the refracted gleam of crinkled foil takes shape in high relief against a vibrantly reflective backdrop.

    Like the Impressionists and California’s