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Hyperallergic
By Barry Nemett
Wagner would agree with Samuel Beckett, that “Nothing is funnier than unhappiness.”
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By Anni Irish
Rounding out the contemporary art shows, painter Virginia Wagner debuted her solo exhibition at the Kate Oh Gallery last week. The show titled Metropolis explores 1920’s German film in an almost post-apocalyptic world. Wagner’s lush canvases pit dire, utilitarian structures against desolate industrial backdrops. The imagery is powerful and draws on Wagner’s background in literature.
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Mann Publication Nov/Dec Issue
p.20-21
Feature of the gallery's inaugural exhibition "All in One"
GothamToGo
On the heels of the inaugural group exhibition, all in One, at Kate Oh Gallery, the artist Virginia Wagner is set to open a solo exhibit on November 9th.
Entitled Metropolis, Wagner’s new work will explore “cityscapes in tension between human development and natural world,” with reference to the 1920s German silent film by the same name, directed by Fritz Lang and written by his wife Thea Von Harbor. “Wagner has a unique perspective from which to observe the psychological and physical effects of our quickly changing planet.” “Wagner began these paintings working in an art collective in an industrial area of Berlin. The work is informed by German painting, from Romanticism to Neo-Expressionism and the Leipzig School. The artist was also influenced by the raw, creative spaces of Berlin, a city that is redefining and rebuilding itself as a place of inclusion after many dark chapters in its history.” The nine paintings that make up the exhibition, Metropolis, looks to an unstable future but is grounded in the now.
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GothamToGo
The title of the exhibition “speaks to the camaraderie of artists who come together to uplift and honor each other’s work” during a time when “this country faces deep division, and a government that aims to incite fear and distrust.”
The renowned artist and guest curator, Pema Rinzin, is a contemporary Tibetan Painter, whose works we have often viewed at Joshua Liner Gallery in Chelsea, and the Rubin Museum of Art. Mr. Rinzin has lived in India, Japan and Germany before making Brooklyn, New York his home. He is the Founder and President of New York Tibetan Art Studio (TAS).
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The New York Times
By FRANK ROSE
Ms. Zelinskie’s human-digital mash-ups are about “how we’re becoming one with our technology,” she explained in her studio in Bushwick, Brooklyn — a small, crowded loft with NASA fliers and “Star Trek” posters taped to the walls. In theory, the computer code on the cube’s surface means the cube could be “read” by a computer — which is why she sometimes says she’s making art for robots as well as humans.
In fact, like the label on a can of pet food, the code on Ms. Zelinskie’s sculptures is meant for humans. Aliens, too, perhaps. “I like taking ideas that have been reiterated again and again” — the human face, geometric forms — “and putting them in a time capsule made of math,” she said. “To me, this is preserving human culture.”
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