abound. In Eva and Skip, Augsburg, 1958, left, her parents out on a date, and while quite touching, it crackles with the 20th century psychic intensity of German movies directed by maestros like Josef von Sternberg and, especially, Rainer Fassbinder. In Eva, Ruth and Bubi, Augsburg, 1964, a confident blondish woman is walking a black dog with her cute, bronze-tone daughters — an ordinary scene rife with complexly resonant nuances. In Sarah, Fasching, 1980, a tawny little girl wearing a crown and a long white gown appears with two German-looking kids in a Bavarian carnival pageant, a scene as dreamlike as a fairy tale. Eva reappears with a pale, spindly hound, as a ghostly sculpture, The White Specter, Owens' most direct reference to race as a haunting, pervasive presence, a deeply human paradox that even the most accomplished must navigate.
Landscapes can seem like inert expanses, but our impressions of them are deeply personal, shaped by our unique life experiences. Max Seckel's paintings are buoyantly dystopian, like cross-sections of Nola's collective unconscious crammed with lost carnival beads, flood and hurricane chaos, litter left over from mournfully joyous jazz funerals, religious processions and frenzied street dancing rendered in colorfully cluttered compositions that reflect the scatterbrained joys and sorrows of human history so obliquely you have to look twice. Seckel's images, like Dana DeNoux's and Karie Cooper's colorfully dreamy canvases at the nearby UNO St. Claude Gallery, explore the secret life of landscapes to reveal how subjectively personal our relationship with our environment really is. ~Bookhardt / Conspiracies: Paintings and Mixed Media Works by Ruth Owens; Surrounding Circumstances: Paintings and Drawings works by Max Seckel, Through May 6, Barrister's Gallery, 2331 St. Claude Ave, 710-4506.
Breaking: Lynda Benglis Receives International Sculpture Center's Lifetime Achievement Award
Read the Sculpture Magazine Cover Story:
Over the course of her long career, Lynda Benglis has defied easy categorization. From her earliest days in New York, where she moved after graduating from Newcomb College in New Orleans in 1964, her buoyantly outspoken personality and boundless curiosity made her a familiar figure in Manhattan’s transformative 1960s art scene. Her early circle of friends included Barnett and Annalee Newman, Carl Andre, Gordon Hart, Joan Mitchell, Eva Hesse, and Dan Flavin, as well as her occasional informal collaborator, Robert Morris, whom she met during a stint on the Hunter College faculty. Now, at 75 years old, she remains enthusiastic about the art and artists she first encountered during that rapidly evolving era, when the long reign of Abstract Expressionism finally yielded to Pop, Op, and Process art, colorfield painting, Minimalism, and Post-Minimalism. Yet, even though her life and work sometimes seem to reflect a dizzyingly eclectic array of associations, her elementally intuitive, process based approach has remained remarkably consistent. More >>