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Articles by Jan Dickey
The Treasure Below Grand
Where Air Turns to Fog at Below Grand, curated by Ray Hwang, gathers Sammy Bennett, Anna Gregor, and Jesse Ng in a sometimes cheeky, but overall multivalent and sincere, investigation of visual perception and the machinery of capital-F/capital-A Fine Art presentation.
The Bone and Muscle: A Conversation with Dona Nelson
For decades, Dona Nelson has dissolved the formal boundaries of painting: refusing to apply pigment to just one side of the canvas, mounting the stretchers of her double-sided paintings on freestanding metal stands, and letting them occupy gallery floors like sculptural interlopers. In her current two-person show with Andrew Ross at Thomas Erben Gallery, however, the painter has ceded the floor space entirely, anchoring her three new works squarely to the wall.
Terra Keck and Jan Dickey caught up with artist Weihui Lu a couple of weeks after she completed a residency at Wave Hill in the Bronx. At the time, Weihui was reflecting on that experience while also preparing for her current solo show, when there is no longer a danger of frost, at Tempest Gallery in Ridgewood, Queens.
Stepping Into the Gyres: Ali Banisadr's The Fortune Teller collapses Time and Narrative at Perrotin Gallery, Shanghai
Ali Banisadr’s first solo exhibition with Perrotin, titled Fortune Teller, is a series of visions about human civilization brought forth from his Brooklyn studio to the gallery’s Shanghai location. The eleven paintings operate in a language directly between Baroque narrative and allover Abstract Expressionism.
Jan Dickey, Author at ArteFuse
Jan Dickey is a painter, writer, and curator based in Brooklyn, NY. He earned an MFA in Studio Art from the University of Hawai’i at Mānoa (Honolulu, HI) in 2017. He earned a BFA in 2009 from the University of Delaware (Newark, DE).
Out of Time with Terra Keck at the Spring Break Art Fair
At Terra Keck’s Spring Break Art Fair booth curated by Field Projects, titled “Out of Time,” visitors are drawn out of the fair’s colorful frenzied atmosphere into a dark, immersive space where the air is tinged with hickory and the walls are painted a deep bluish-green. Her sumptuously subtractive “eraser drawings” of graphite and watercolor float inches from the walls and are backlit by warm battery-powered lights.
Anna Gregor in the Retracted Age: A Conversation
By JAN DICKEY June, 2024 The arched windows of old cathedrals burn in oil glazes of Indian Yellow and Green-gold. Glowing flames are framed within paste-white grounds of paint, imitating studio walls shadow-crossed from too many track lights. A glassy reflection in the work, like a thin window pane is hung in the center of each of the seven intimately sized compositions; but the glass is actually a clear, viscous paint medium.
always happy to see you: a conversation with Heather Drayzen
By JAN DICKEY June 5, 2024 I sat down on Heather and Joshua Drayzen’s comfy beige sofa a week before Heather’s first solo exhibition was to be held at My Pet Ram on the lower east side of Manhattan. Across from me was a decommissioned fireplace, currently housing a rotund light blue ceramic vessel bearing a relief portrait of one of the Drayzem’s two small dogs.
those that never listen to music anyway: a conversation between John Brooks and Jan Dickey
By JAN DICKEY April 16, 2024 Jan Dickey: I had the pleasure of seeing your exhibition Islands Are Not Forever at MARCH Gallery in the East Village (NYC) the other day. I was really struck by the format of the drawings and what it said about your process. The walls of the gallery were lined with giant works on paper (70 x 50 inch each), hung unframed and side by side.
The Egg; or, Body Without Organs at Millennium Film Workshop
By JAN DICKEY January 7, 2024 “This is the leg area,” said Serena Hanzhi Wang as I entered the exhibition she had curated with fellow artist, Eden Caine. The 13-person show, Body Without Organs, was cradled into the intimate floor plan of the Millennium Film Workshop at 167 Wilson Ave in Brooklyn, an experimental hub for non-institutional filmmakers and alternative mixed-media curation since 1966.
Hannah Antalek at 5-50 Gallery: Where Dreams Come True
By JAN DICKEY December 3, 2023 From the wreckage of old worlds, there is always a small sprout lying in wait––something perfectly evolved for a world yet to come. It searches for growth and hopes for the chance to become the ruler in a new atmosphere, borne amidst the fallout and ashes of the old. I was in Long Island City, Queens, when I realized there would be nothing left.
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