White Columns Online #31:
Indirect Address
curated by Katharina McCarty

Emily Hass, String-Nail 42_1, 2015. Vintage paper, string, nails, 75 × 132 in. (Forty-two pieces of tan paper assembled into six rows hung on a wall. In front of the paper are two diamond shapes made of string on opposite ends of the artwork, with the ends of the strings hanging from the forms. In the middle is a half diamond string shape with no string hanging from it.)

Deborah Wasserman, Phoenix (5), 2019. Acrylic and oil on panel, 18 × 24 in. (An abstract painting with circular swirls throughout. The color bleeds into each other becoming muddy in certain sections. On the bottom half of the painting there are green strokes reminiscent of grass. In the center is a bright orange that stands out from the rest of the painting. There is a small section of blue on the right side of the painting. The painting utilizes yellows, purples, browns and greys, which in certain areas blend together to create odd shades.)

Rory Rosenberg, Grids From a Solar Panel (Installation View), 2022. Acrylic, copper, graphite, resin on canvas, 32 × 48 in., 32 × 48 in., 12 in. diameter (from left to right.) (Two canvases side by side featuring identical grids with a small circular canvas to the top right of the two canvases. The canvas on the left has a blue background and looks rusted on the edges. There is a brown border with the border color continuing into the grid lines. The canvas on the right has a brown background with a yellow border and grid lines. There is a small circle on the right side of the canvas with the circle being the same color as the canvas on the left. The circular canvas to the far right has navy blue paint covering it with the paint creating a textured surface.)

Tyler Christopher Brown, Three-legged race, 2024. Rebar, mild steel, nails, dispossessed clothing items dipped in porcelain, 40 × 17× 17 in. ( A steel skeleton of a chair with three legs. The steel is rusty and shaped into the form of vines with thorns along it. At the end of some of the vines are the shapes of roses and leaves. The roses are a dusty pink, and the leaves are rusted gold.)

Aidan James, Twilight Reverie, 2023. Watercolor and sugar on Arches paper, 11.69 × 11.75 in. (A painting on paper of an adult figure beside a child figure with skin painted black both wearing white shirts. The figures are tiny in proportion to the painting with the background reminiscent of burnt paint. The top of the painting is a bright red-orange which takes up a little over half of the painting. The bottom of the painting is blue with some watered down red-orange streaks. The left of the paper is torn with the edges all around the paper being rough.)

Ido Radon, Wave, 2024. Redwood, masonite, douglas fir, 2 × 4 × 1 ft. (A curved wooden panel with wood shingles. The top of the panel curves forward and the photo is taken at an angle.)

Haley Mellin, CH 15.4684°N, 90.7782°W, 2022. Gouache on canvas in artists frame, 31.75 × 21.75 in. (An abstract painting with blue green paint strokes. The color is darker at the bottom and transitions into a very light blue at the top without forming a gradient.)

Megan Nugroho, Sihir Tanah/Earth Witch, 2023. Colored pencil on paper, 40 × 50 in. (A drawing with a brown and grey background with gold plants sprouting from the upper right corner and stretching to the end of the page. There are three red leaves and three red flowers with gold outlines amongst the plain gold plants. Some of the vines form text that are hidden between the plants. The background has a fur-like texture with the brown and grey color fading into each other.)

Maria Jose Garcia Estevez, Untitled (une), 2022. Galvanized electrical tube, corn husks, liquid starch, 48 × 20 in. ( A sculpture composed of a standing metal tube curved at the bottom with the bottom tube section cut open. The top is brown and fuzzy with a corn husk sitting on it.)

Michelle Brandemuehl, Trace_1, 2024. Canvas and acrylic on wood frame, 20 × 16 in. (The top of a canvas is painted black while the bottom remains unpainted. The unpainted section of the canvas takes up about two thirds of the canvas. The wooden frame is painted black at the top and white on the lower left side and bottom, leaving the lower right section untouched. The canvas is torn with a large triangle hole to the left and a small rectangle hole to the right. There are other slashes made to the canvas including one in the shape of a crescent. On the unpainted section of canvas stains and small black marks are present.)

Alice Wang, Untitled, 2024. Earthenware, 33 1/2 × 20 × 4 in. (A wall-mounted sculpture in which black rectangular rods are placed on top of each other in three layers. The length gets shorter towards the front. Each layer has rods that are different lengths creating an uneven top and bottom edge.)

Leor Miller, Untitled, 2024. Archival pigment print, 40 × 50 in. (A blurry black and white landscape photo featuring a cloudy sky and blurry trees on the horizon line and telephone lines stretching across the upper right corner.)

Bradley Butler, All We Do is Dredge Up the Past, 2022. Acrylic on panel, 8 × 10 in. (A painting of the ocean with a tiny figure in the center. Only the shoulder and head of the figure is visible with the rest of the body submerged underwater. The blue-grey color of the ocean mixes with the color of the sky, making it hard to see where one ends and the other begins. In the distance, mountains are visible through fog.)

Cassandra Chalfant, Light 1, 2022. Acrylic on panel, 18 × 24 in. (A landscape painting of buildings by the beach. A group of black roofed buildings poke up behind tall grass. Each building is unique in shape with one having an extremely pointy roof. In front of the tall grass is the beach, sand takes up most of the foreground with only a sliver of water visible. It is night in the painting with a full moon in the sky; the full moon is reflected in the sand. Both the moon and its reflection are located in the center of the painting. A few small white dots are scattered over the grass giving the impression of fireflies. )

Jae Hi Ahn, Home Series, 2024. Ceramic sculpture, porcelain clay, 48 × 100 in. (A group of 29 small white ceramic forms hung salon-style on a white wall. Included forms are a book, a kettle, a sink, a vase, a towel, a toaster, and other domestic objects.) 

Esther Ruiz, Well XVII, 2017-2023. Argon, mercury, phosphor, glass, transformer, MDF, acrylic, paint, 18 × 25 × 3 in. (A wall-mounted neon sculpture of a curvy blue mirror with a green neon light along the border, which sits away from the glass held out by small green cylinders.)

Kathleen Greco, In Lieu of Flowers: Pink Carnations, 2023. Flower petal stain, 36 × 28 in.(Pink streaks in a square shape in the center of a white canvas)

Julia Taszycka, broken fall, 2023. PCV, dirt, 13 2/5 × 5 1/2 × 4 7/10 in. (A shard of PVC tubing covered in dirt sits on top of a nail against a white wall. The piece is curved towards the wall; large pieces of the object are missing.)

Michael Dikta, mint error 1, 2 & 3, 2024.

Plexiglass, black pigment, 48 × 5.75 × 2 in. (A corner of a room with three thin transparent vertical cuboids with nine black sections distributed evenly in each cuboid. Two cuboids are placed together on one wall, one is placed on the next wall beside a window.)

Salvatore Fiorello, Penumbra, 2024. Oil on linen, 7 9/10 × 9 8/10 in. (An abstract painting with the green leaves of a tree with a mauve bush underneath. A darker mauve shadow comes from the bottom of the painting forming an unnatural shape. The painting utilizes warm green and pink shades with pops of blues and red in between the leaves of the tree.)

Hai-Wen Lin, Back Divination – unchanging 45, 2023. Graphite on paper, velvet, persimmon wood frame, 50 yarrow stalks, 16.625 × 16.625 × 1 in. (An abstract drawing with grey lines forming an organic shape against the white background matted against muted red velvet in a wooden frame. Resting on the top right edge of the frame is a bundle of yarrow stalks.)

Stephanie Beck, Untitled (London Plane), 2022. Wood, branches, glue, mineral oil, string, screws, 87 ½ × 34 × 29 ½ in. (Eight thin branches attached to the wall hang down towards the stairs. The end of each branch that is attached to the wall is encased in a jointed wooden armature. Additionally, each branch is tied to pieces of string that are tied to screws in the wall just above the branches.)

Jo Shane, Pallet of Bricks and Pallet of Shingles, 2020. Cedar shingles, clay bricks, dimensions variable. (Two three-dimensional textured blocks in a white room. The block on the left has a brick texture with holes above the bottom two rows. The right block is larger and the texture of stacked blocks of straw. The left box is further in the foreground than the right block.)