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To “read“ Eddie Martinez’s new show Wavelengths demands that we activate our propensity for a scattered, frenetic attention. In his paintings, Martinez, as ever, sends us spiraling through all possible associations, from nature to toys to politics, from still life to continual-motion life, to jazz and to sports.
What the exhibition aims to document are contemporary artists’ reactions to a shared, ongoing global ecological crisis and protests against it. Many of the works provide sanguine visions for a possible future marked by a symbiotic relationship between humans and “nature”—which, more often than not, is consonant with natural history and bare wilderness.
Río de Niebla, Río de Adobe, Río de Sangre by Tania Ximena delves into how mountain ranges play an essential role in the life of surrounding biomes and urban centers. Through intensive research, she creates paintings and video installations that map the journey from the North Glacier located in Citlaltépetl—or Pico de Orizaba—to the Jamapa River, inhabited by an Afro-Mestizo population, flowing into Boca del Río, a small town south of Veracruz, a port city in Southeastern Mexico.
Little portals into the chaotic core of childhood playtime comprise Small Worlds at Trotter&Sholer, the latest solo show by New York-based, mixed media artist Bonnie Lucas.
Peeping out of rounded rectangular boxes, rapidly shuttering cameras capture gallery goers at numerous angles, emphasizing those viewers who foray into the inverted panopticon’s proscenium to perform for the machine. The photos are then projected onto the wall in rapid succession, the gestalt being a structural film befitting a mass surveillance age.