Julia Friedman

  • Tamotsu Ikeya

    Tamotsu Ikeya’s most recent, aptly titled show, “Basic Lesson Preparation and Review,” indexed both the artist’s earlier investigations of color and his current (and evolving) interest in actual space. Ikeya put these lessons to use attempting to conceptualize color as a means of generating space. The first glimpse of the gallery’s vast interior presented a pair of large untitled two-tone canvases (all works 2009)—one red and orange, the other blue and green; ten more paces toward the back wall opened up a view of a third painting (the same dimensions as the first two and also untitled) in black

  • Kosuke Ichikawa, Untitled, 2009, paper, incense, 37 x 60".
    picks January 20, 2010

    Kosuke Ichikawa

    Nothing in “Murmur,” Kosuke Ichikawa’s first solo exhibition at this gallery, can be taken for granted. The images, which look like high-contrast photographs when reproduced, are not only done by hand but are created through pigmenting and burning sheets of washi paper with incense sticks—a decidedly involved technique that intensifies the significance of the artist’s touch. The content is similarly illusory: Ostensibly generic depictions of woods turn out to be the imprints of Ichikawa’s memories, spontaneous flashbacks allegorically burned into his subconscious, then literally onto the paper.

  • Shinro Ohtake, Memory of Color 1/Born to Please, 2008, oil, lacquer, printed matter, photographs, rice paper, wallpaper, cotton yarn, plant matter, varnish, wood and acrylic board in custom frame, 17 x 14".
    picks November 08, 2009

    Shinro Ohtake

    “Shell & Occupy 4” features the latest examples of Shinro Ohtake’s “stickering” method—the white noise of found objects strewn together, then contained by oil paint. The resulting effect is simultaneously gritty and sleek. The exhibition’s highlight is the wall-size multimedia assemblage Latitude of the Memory of Color/Galaxy, 2009, whose title indexes Ohtake’s two key preoccupations: color and memory.

    The “Beach” cycle, created this past year, just as Ohtake was designing a public bath in Naoshima, emphasizes the memory component of his work. Here, vintage reproductions of swimsuit models are

  • Seiji Aruga, le, 2009, paper, 16 x 16 x 2".
    picks October 15, 2009

    Seiji Aruga

    Paper, Seiji Aruga’s medium of choice, is ideally suited to his spatial and tactile art. In Aruga’s latest works, his earlier, intricate constructions give way to equally intricate subtractions. From afar, le, 2009, conjures up a partially teleported version of Malevich’s Black Square on a White Ground, 1914–15. The square appears to be carved into the middle of the vertically arranged composition, but a closer look reveals a side view of laterally stacked paper. The perimeter edges and the surface of this recessed inner square are uneven, adding to the concrete and physical texture of the piece.