When you hear the word “tapestry”, you might think of classical, lavish pastoral images dotted with decorative designs. Erin M. Riley is an artist who brings the medium into a new Contemporary context with her insightful portrayals of modern women. Her previous solo exhibition, “Something Previous” (featured here) borrowed inspiration from the internet. In a world where we can share our every thought and most intimate moments, we tend to lose our sense of boundaries. This is a concept that continues to intrigue Riley, which she extends into her current show “Darkness Lies Ahead” at Joshua Liner Gallery in New York.
Evan Hecox’s paintings of roadside dives overflow with 1970s nostalgia in his current solo show at Joshua Liner Gallery in New York, “Far.” As the title of the show suggests, these new works were inspired by Hecox’s travels to destinations as far as New York, the Mojave Desert, Santa Fe, Los Angeles, and Tokyo. The cultural signifiers of these places melt together when viewed through the Colorado-based artist’s sunshine-hued lens. Rather than focusing on specific landmarks, Hecox paints gas stations, cacti, and abandoned buildings. His work privileges the journey, not the destination. “Far” is on view through June 6.
Rather than drawing a line to separate his personal and commercial work, LA-based artist Wayne White (featured in HF Vol. 19) brings the two full circle with his latest exhibition, “Invisible Ruler,” at NYC’s Joshua Liner Gallery. White has extensive credits as a set designer, puppeteer and director (he won multiple Emmys for his work on Pee-wee’s Playhouse), and his puppetry informs his oeuvre in both two and three-dimensional media. The title of the exhibition, according to the artist, alludes to the ways previous creative pursuits impact artists for the rest of their careers. Techniques learned in one medium come through in others in unexpected ways.
Over the weekend at Joshua Liner Gallery in Chelsea, NYC, California-based artist Thomas Campbell opened his solo show “Ampersand,” bringing with him a calm from the Pacific that seemed disorientingly refreshing in a city that breeds anxiety. Campbell, who is as much a painter as he is a filmmaker, skateboarder, surfer, record-label founder and photographer, continues to defy the mainstream pressures of specialization and containment, a shared temperament for many of his fellow artists that emerged in the 1990s — the Beautiful Losers such as Barry McGee, Cheryl Dunn and Harmony Korine.