Mark Alsweiler: Folk art gone contemporary

Carrion Crows

I’m trying to remember just how I came across these fantastic paintings by New Zealand artist Mark Alsweiler, but as I can’t, let me just say I feel lucky I did. They remind me of much of art I saw in Mexico, and like most folk art often suggest a narrative, but the palette strikes me as particularly contemporary.

Different Times

I’m also impressed by the sophisticated way he uses folk elements without “talking down to them,” so to speak. Symmetry and balance play a role in that I suspect–as does a judicious use of blank space.

The Bigsky Web

The use of white in the paintings above and below feels so refreshing.

Sitting Down by the Fire

Horseman

This piece, with its skeleton on horseback riding next to the living man, reminds me of Mexican art most clearly.More than anything, I end up feeling fascinated and lingering over details in these pieces, wondering what the story behind them is.

Three Ways Good Design Makes You Happy

I don’t know what it is about the TED talks lately, like this one from Dan Norman on three ways good design makes you happy, but somehow I find them rather soothing.

Partly I think the attraction stems from my boyfriend and I now living in a place with a TV (!). Its very tempting at the end of the day, but all those espisodes of Law & Order are starting to make me nervous when I shower. Plus, nothing is very aesthetically-inclined, unless you count America’s Next Top Model. So somehow I end up in the bedroom watching these on my computer while my boyfriend revels in X-Men, and will probably keep doing so until PBS starts doing Art:21 marathons. By the way, did you know that ART:21 had a William Kentridge movie in the works?

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Grown-Up Mobiles: Nathan Carter at Casey Kaplan

Williamsburg Brooklyn Public Housing Project Concealed Swinden Call and Response  
I’m really over long, evocative but gibberishy names for exhibitions– POCKET SHRAPNEL SET-UPS VERONICA VEX AND BROOKLYN STREET TREASURE –being a great example of such. That being said, the art itself in this Nathan Carter exhibition at Casey Kaplan was quite good–small scale Calder-esque with a bit more intricacy. The wall-sized installation above could have been a Miro if flat, but Carter brought out the dimensions by creating the composition from large metal pieces at varying depths to good effect (hard to capture in a photograph).

There was another fabulous, playful piece reminiscent of the game Mousetrap that I loved. However I am in a sad state–camera-less– and so will have to leave you with this one image pulled from the web and tell you to go see for yourself before October 23. For some reason Casey Kaplan doesn’t have any of his new work up.