MARC HANDELMAN: SCENES FROM THE NEW MIASMA
Landscape might be seen more profitably as something like the â€śdreamworkâ€ť of imperialism, unfolding itâ€™s own movement in time and space from a central point of origin and folding back on itselfâ€¦
Marc Selwyn Fine Art is pleased to announce Scenes From the New Miasma, the debut Los Angeles solo exhibition of New York based painter Marc Handelman.
Marc Handelmanâ€™s paintings explore the intersection of power, propaganda, national identity, fascism, beauty, and kitsch through subjective fantasies inspired by the rhetorical and visual legacy of nineteenth century American Landscape painting.
Marc Handelman constructs paintings that seek to dismantle, reify and complicate the seductive relationship between beauty and the moral delusion so often embedded in aestheticizing processes. Drawing from sordid discourses and histories both real and imagined and within a shifting visual framework at once representational, symbolic, and abstract, Handelmanâ€™s paintings conflate spaces that both stabilize and disrupt a comfortable recognition and relationship to his subjects.
Light is a reoccurring motif and subject in his work. From the blinding and annihilating atmosphere of 19th century Luminist canvases and Albert Speerâ€™s (the Nazi architectâ€™s) Cathedral of Light to its contemporary manifestation at Ground Zero and use within military intelligence operations and advertising, light functions as the entry and vanishing point of the viewing subject. Read the entire article hereSource:
Landscapes Focused and Idealized
Marc Handelman makes careful use of technique and materials to explore â€śnatureâ€ťBy Carie Moyer
Marc Handelman is a tricky painter. â€śWarm White Blizzard,â€ť his current solo debut at Lombard-Freid Fine Arts, consists primarily of landscape paintings, each rendered with a kind of swoony technical bravura and revelry in the possibilities of materials.
â€śHypothetical,â€ť the first painting that one encounters upon entering the gallery, is a large-scale pastoral scene that sets up the contextual framework for the entire exhibition. The end of a road empties out into a shallow glen where the viewer is overwhelmed by a palpable yet impenetrable white light. The lush, manicured implications of the landscape suggest a golf course or a wealthy gated-community rather than a scene of untrammeled nature. The sparkle of fantasy is heightened by a collection of delicious scratched, scraped and flicked brushstrokes that could come directly from a Bob Ross â€śJoy of Paintingâ€ť video. Read the entire article hereSource: