Shirley Kaneda

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Juan Uslé by Shirley Kaneda
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“I begin listening and recognizing silence, meditating until I hear the blood circulating, and then start following the beats, making marks, one by one, line by line, emptying myself until the entire surface of the canvas is covered.”

Charline Von Heyl by Shirley Kaneda
Charline Von Heyl 1

I first came across Charline von Heyl’s paintings in the mid-’90s. She had moved to New York from Germany in 1994, having had her first New York solo show at Friedrich Petzel Gallery.

Karin Waisman by Shirley Kaneda
Karin Waisman Body

Inconsistency, contradiction and the feminization of minimalism are discussed in relation to Karin Waisman’s sculptural work.

Shirley Jaffe by Shirley Kaneda
Jaffe 01 Body

Shirley Jaffe’s distinctive and eccentric work is difficult to pin down, both in time and style. When I first came across her paintings at the Holly Solomon Gallery in New York in 1988, I had an immediate response to their idiosyncratic quality. 

Diana Cooper by Shirley Kaneda & Saul Ostrow
Diana Cooper 01

Diana Cooper’s work is a high-wire act.

Ivelisse Jiménez by Saul Ostrow & Shirley Kaneda
Jim Nez 01

Aesthetically informed by an awareness of the limits of language and the doubt that this instills, Jiménez investigates the way language orders experience and how concepts are formed, the irreconcilability between the logic of articulation and sentience.

Robert Mangold by Shirley Kaneda
Article 2401 31May09Rg  Mangold 01

To look at any painting by Robert Mangold is to see exactly what is there. For over 30 years, his work has been clear and direct. 

Jim Lambie by Shirley Kaneda
​Jim Lambie

With his interactive display of multicolored concentric rectangles, vintage record players covered in sequins and yarn-covered jazz records, artist Jim Lambie presents work with an ingenious appeal.

James Siena by Shirley Kaneda
James Siena 01

Siena successfully turns his images into what they are not, coaxing their “other” from them. Seemingly without conscious intention, he transfixes the viewer like a magician, making the nonexistent become existent, in the most indirect way.

Adam Ross by Shirley Kaneda
Ross Adam 01 Bomb 062

Like a mirage in a desert, the landscapes in Adam Ross’s paintings and drawings are as unreal as a vision seen by a delirious time traveler. 

Jim Butler by Shirley Kaneda
Butler 1 Body

Jim Butler’s recent paintings bring to the tradition of “realism” a concern for the act of perception.

Roland Flexner by Shirley Kaneda
Roland Flexner

The 19th-century traditional skills of the “fine artist” and the nomadic intellect of the postmodern would seemingly be at odds with one another, as if object and subject were intent on maintaining total disregard or being completely dissolved by each other. Such a paradox is at the core of Roland Flexner’s work.

Valerie Jaudon by Shirley Kaneda
Valerie Jaudon 01

Painter Valerie Jaudon positions her work between fine and decorative arts reconciling modernist and post-structuralist polemics with ease through open ended methods and interrogations that take on a uniquely seductive and feminine point of view.

The Commands of Desire by Shirley Kaneda
Article 1481  Bomb 37  Kaneda 001

Oil on canvas painting, titled The Commands of Desire, by Shirley Kaneda. 

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