Press
Tulu Bayar —
Hyperallergic
Welcome to the 217th installment of A View From the Easel, a series in which artists reflect on their workspace. This week, artists find comfort in their backyard, work in a studio for the first time, reflect on food and heritage, and find new uses for old materials.
"Nestled within the picturesque rural expanse of Pennsylvania, my studio occupies the hallowed grounds of a once-vibrant dairy barn. A mere 10-minute stroll from my residence transports me to my studio, bridging the divide between my urban origins and my current rural abode.
"On this corner of the studio, citra transfer prints on handmade paper and a collection of drinking vessels on trays are scattered flat across the wall. In the foreground, protruding giant scrolls sleep on a bench that I found in a wastebin. Both ends of the scrolls are rolled up, referencing the hidden past and future, waiting for an unfold."
— Tulu Bayar, Lewisburg, PA
Tulu Bayar — Art in American Guide
Amos Eno Gallery proudly presents “Traces,” an exhibition of a mixed-media installation by Tulu Bayar. Join us Friday, May 21st from 6-8pm to encounter Bayar’s most recent installation, which draws upon her decade-long exploration of drawing with photographic film, and utilizes meditative repetition to communicate the idea of oneness: all binary concepts share and are connected to one source. In contrast to an examination of the physical, Bayar’s work focuses on the spiritual essence of wholeness and mysticism that are deeply rooted in Rumi’s teachings. The artist will be creating ephemeral work for visitors during the opening, in call and response with Pianist Sezi Seskir, who will be playing ‘Two Pages’ by Philip Glass, an early work of his from 1968. Please join us for this unique, collaborative performance experience.
Kathy Putnam & Kahori Kamiya - TransBorder Art
Episode 46- Play and Art
Sarah Dahlinger, Kahori Kamiya, Kathy Putnam and Moses Ros discuss how Art can be playful and fun but it also has the power to bring to light profound concepts about life. For many artists, the process of creation is connected to play. For example, the use of color in an artists' work, the sound of music or lack of it, the social interaction that may or may not occur, the memories, and the freedom of play are all part of the process of art making and our own lives. Furthermore, the possibility of inviting the viewer into an artists' work brings richness to the concept of each piece.
Candace Jensen in The Adroit Journal
"Despite the imposed technologization of COVID-era communication, these pieces bear the aspect of the deeply ancient. Little’s inkblots resemble the Lascaux cave paintings in texture and shade; Jensen’s intricately rendered beasts on deer and goatskin parchment leap from the pages of illuminated manuscripts; Stevenson’s calligraphy suggests the delicate, swooping lines of ink-wash Tang dynasty scrolls. The artists’ collective attention to the discrete, deliberate act of mark-making—their deep historical knowledge of color, form, and line—enables this fluid descent into time."
Tulu Bayar —
Creatrix
Bayar’s work evokes the relationship between time and space itself. We can never fully grasp the many layered histories that shaped the world we live in today. We can only see the shape of the world.
Bridging the gap between traditional and experimental art forms, Tulu Bayar’s mixed media works are sculptural gestures, frozen in time.
In “Traces,” she draws with undeveloped film, as opposed to exposing, processing and enlarging the materials in the darkroom. She then encases the resulting forms in resin and ink.
Each piece is an exploration of calligraphic abstraction (reminiscent of Islamic art), performance, drawing, and ebru (Turkish marbling art).
Kahori Kamiya — Hyperallergic
Two figures greet viewers entering Long Eclipse at Amos Eno Gallery in Bushwick, the first New York City solo show by Nagoya-born and New York-based multidisciplinary artist Kahori Kamiya.
“Blooming Flow” is the artist’s vision of Venus. In 2005, Japan’s Fuji Sengen Shrine commissioned Kamiya to craft an idol honoring Konohanasakuya-hime, the cherry blossom goddess of Mt. Fuji. “Blooming Flow,” though, is all the sculptor’s own. Kamiya’s thumb strokes remain imprinted on clay plumes that rise from her bosom, painted with acrylic and metal leaf and dappled with amethyst. A mortal of clay and polyurethane hovers behind her in the wall-mounted “OMG.”
Aaron Wilder - Yale University.
Aaron Wilder – Omission Rituals
Aaron Wilder is an interdisciplinary artist who blurs boundaries between the analog and the digital, the public and the private, and the unassuming and the instigative. He uses his own experiences and sense of identity as a lens through which he explores the introspective and social processes of contemporary culture.
Tulu Bayar —
Ante Mag
A feeling of lightness and buoyancy surrounds viewers upon entering “Traces,” a mixed-media installation by multidisciplinary artist Tulu Bayar on view through June 13th at Amos Eno Gallery. Over one hundred circular works composed of photographic film rolls, ink, and resin float weightlessly on the walls. These are presented in the space at varying heights as if rising and cresting, like a wave, and floating around the viewer. Dark rolls of film spiral, unravel, and protrude from the works with a deliberate sense of gesture and line, while vibrant colors swirl within the transparent resin. Citing influences such as calligraphy, Islamic manuscript painting, and ebru – the mesmerizing practice of Turkish marbling art – Tulu Bayar crafts a distinctive visual language that viewers can interpret and find meaning within.
Aaron Wilder — Yale University
On Thursday January 5, 2023, Brainard Carey interviewed artist Aaon Wilder on Yale Radio about his solo exhibition Omission Rituals at Amos Eno Gallery in Brooklyn, New York. The following text is a transcription of the dialogue between Carey and Wilder edited for clarity and readability with images of the artworks discussed.
Kahori Kamiya in
Art Spiel
Kahori Kamiya – Sur/Reality at Amos Eno
Multi-disciplinary artist Kahori Kamiya uses in her sculptures a wide range of materials and techniques to explore oppositions like suffering and healing, beauty and grotesque. Her current sculptures focus on motherhood, especially on breastfeeding.
Nishiki Sugawara-Beda in Whitehot Magazine of Contemporary Art
"...these works hail from the artist’s KuroKuroShiro series, which translates to “black and white.” Over video chat, Sugawara-Beda said she adopted a monochromatic practice in 2019. “I used to use a lot of colors,” she explained. “Each color had a language to me.” Five years ago the artist began limiting her repertoire to just a few colors in each artwork, and then just one."
José-Ricardo Presman in the Bushwick Daily
"“The goal is to bring back integrity and dignity to earthly humanity,” Presman tells Bushwick Daily about his latest collection of visual art pieces, which center primarily on a series of abstract wax pastels that appear on what he describes as an extremely ordinary classroom blackboard. These are given simple, blunt names and depict ghostly vestiges of the natural world reduced to its elements."
Robert McCann in American Art Collector Magazine
August 30, 2019
BOMB Magazine Studio Visit: Nancy Elsamanoudi by Naomi Falk
May 21, 2019
Nancy Elsamanoudi studio. All photographs by Naomi Falk.
It is a Sunday morning in Nancy Elsamanoudi’s studio. Arriving here at Brooklyn Army Terminal to listen to her make long brushstrokes across the canvas brings to mind the cathartic conclusion of a great pilgrimage. Alongside the sound of this labor, she describes how the act of creation in New York City, and how the anonymity and nonlinearity of life here, have recalibrated her lived experiences of art and gender.
May 13, 2019
College Art Association selects Rosemary Meza-DesPlas's Jane Anger for the best in feminist art
February 08, 2019
CAA NEWS TODAY CWA PICKS FOR FEBRUARY 2019
CAA’s Committee on Women in the Arts selects the best in feminist art and scholarship to share with CAA members on a monthly basis.
We love CAA's introduction of the work using this quote from Rage Becomes Her. Here is an except of their notes on Meza-DesPlas's show and a link to the quote below:
Artist Rosemary Meza-DesPlas explores all of these elements of anger and more through her sinuous lines in hand-sewn human hair drawings, watercolors and onsite installations in her solo show, Jane Anger, the title referencing a 16th century pamphlet published in England titled Jane Anger, Her Protection for Women. She also utilizes art history as inspiration by juxtaposing found art historical imagery along with social media and mass media imagery, exploring how the social movements, Women’s Marches and #MeToo, harnessed anger in order to forefront an array of gender-based burdens, presenting anger as a tool rather than detriment, as media often reflects. Moreover, by using her own gray hair in her drawings, Meza-DesPlas implicates further thought on socio-cultural symbolism, feminism and body issues, and religious symbolism, invoking both contemporary and classical perspectives around anger. Building on the multi-media experience, during the opening reception, the artist will present her piece titled Intervals of Anger, performing a poem every fifteen minutes. Taken altogether and individually, Jane Anger will surely rile and provoke audiences on this timely issue.
Eric Banks in Art Spiel
January 29, 2019
Thanks to Art Spiel and Paul D'Agostino for the mention in his Nota Bene in January!
Interview with Andre Rubin on philosophy, art and meaning machines
October 26, 2019
Andre Rubin interview with Phoenix Gallery where the artist discusses his relationship to themes such as Accelerationism, Wormholes, the Far Future and Distant Past, Climate Change and Disaster, New York City, Social Justice, Hegel’s Owl of Minerva Who Flies Only at Dusk, Classical sculpture and architecture, Object Oriented Ontology, the Eternal Return, Perspectivism.
filthy dreams
November 17, 2017
Living in New York, you get used to loss–not necessarily just the loss of beloved people, but of establishments. These bars, clubs, dives and cafes, particularly queer and queer-friendly spaces, are not just favored locations to grab a bite or a beer, but they’re where communities and even, worlds are built and thrive (even if temporarily). “Spiritually, gentrification is the removal of the dynamic mixture that defines urbanity–the familiar interaction of different kinds of people creating ideas together,” writes Sarah Schulman in her seminal The Gentrification of the Mind. “Urbanity is what makes cities great, because the daily affirmation that people from other experiences are real makes innovative solutions and experiments possible.”
Bedford + Bowery
November 03, 2017
National Public Radio from UA Little Rock
October 27, 2017
July 06, 2017
A ‘Fair’ Roger Ailes Memorial, The Secret Life of Plants, and More Art This Week
This multidisciplinary group exhibition is named for a fresco created by Diego Rivera, which was displayed in Rockefeller Center from 1932-1934. Its lifespan was not intended to be that brief, but it was cut short due to its controversial nature. Known for possessing leftist politics, at the last minute Rivera decided to turn the mural from a more generic depiction of a man imagining a better future to a scene with recognizable figures like Vladimir Lenin and a Rockefeller “drinking martinis with a harlot.” The capitalist upper crust Rockefellers, shockingly, were not exactly pleased, and the mural was destroyed.
June 01, 2017
Mary J. Saran: Escape Earth
As Buddha found importance in the interconnectedness of all things, Mary´s work strives to connect personal emotions and philosophy creating a balance that stems from that interconnectedness, that lack of absolutes. These colorful organic universes are created and resemble astronomical clusters of mass or craters, the way matter accretes in space. The goal is to have her viewer share a glimpse into these magical free flowing and yet structured compositions that become trapped on the canvas.
May 04, 2017
Cynthia Laureen Vogt. Vice Versa
These intimate collages are dominated by paper cut-outs and photographs of wooden block letters, their three-dimensional appearance aligning the phonetic symbols with their relationship to the human body. Their sense of depth, furthered by the strata of media as well as the accordion-fold book forms into which they are sewn, is drawn into contrast by cutting both around and against the characters and by silhouetted human figures whose gestures recurringly perform as text. This cutting additionally acts to unify letters and figures with the surfaces on which they are printed, text and support becoming interchangeable.
January 02, 2017
Art that is ‘Vapid and Screaming,’ Philosophical Collage, a Solo Show Duo, and More
Andre Rubin’s new solo show at Amos Eno Gallery on Bogart Street (an artist-run space founded in 1974!) showcases an assortment of “approximately 35” collages that “explore timely philosophical and political themes.” Though it’s not immediately clear what these themes are, the fact that they must be there, somewhere makes the eye linger a little longer on Rubin’s already compelling creations, which feature imagery of the Manhattan skyline, angelic sculptures, iPhone lock screens, and advertisements. Some are more patchworky, where lines clearly where one image ends and another begins, and others are more of a streamlined work, where you’re stuck wondering what is collaged and what already existed.
June 28, 2013
Rae Goodwin at Amos Eno Gallery – “The Weight of It”
The collaborative performances between Rae Goodwin and Thomas Albrecht explore the challenge of individuals in relationship, the complexities of language shared, and the intimacy and distance between bodies in space. The performance for Amos Eno Gallery in Brooklyn continues this line of questioning in a durational action that investigates the weight of experience, and the demands of personal histories on the body and mind.
January 14, 2013
Amos Eno Gallery Presents a Perfect Quad
Harmony and balance are two things that takes time for any artist to master. It takes discipline and a shrewd editing eye to capture those qualities existing in equal measure with every piece created. Amos Eno Gallery on Front Street in Brooklyn presented four such artists mastering Resilient Suspension. AF trekked off the island last January 12th to traverse boroughs and explore the DUMBO (down under Manhattan Bridge overpass) area to discover the vibrant art scene.