• GREG DRASLER

    Wednesday, January 24, 2024

    There is a moment, if memory serves, about halfway through Godard’s Pierrot Le Fou, where his camera is following Belmondo and Karina as they scarper across the cliffs overlooking some gorgeous Mediterranean inlet. They are on the lam; someone is dead, killed. I do not recall if they are being chased, probably. Tension mounts, (that […]

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  • SUSANNA STARR

    Tuesday, May 31, 2022

    New York City artist Susanna Starr uses saturation, absorption, and even simple rubbing, to make delicate porous objects. Her work offers a glimpse into the unseen structures of familiar things – exploring questions of space and physicality. She received an MFA from The Yale School of Art, a BFA from The Maryland Institute College of […]

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  • Michelle Weinberg

    Monday, May 9, 2022

    When I create art for an interior, exterior or public place, I’m thinking of surfaces as social veneers that are penetrated by viewers/participants. I like to connect with individuals moving across or around a public artwork by suggesting a synchronization with their own bodily rhythms of breath, footsteps, heartbeat and pulse. It’s this flickering, pulsating effect I’m after – a vibration we can feel with the fundamental sublime geometry existing beneath all things.

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  • Ilene Sunshine

    Thursday, April 28, 2022

    I’m using twigs and cord to frame air. That’s what enchants me most— how a space can be empty, yet full of presence. So, though I’m technically the maker, it’s a matter of me paying attention to how these materials behave under certain circumstances.

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  • Fran Shalom

    Tuesday, April 12, 2022

    I am always teetering from one edge: from abstraction to figuration; from ambiguity to obviousness; from clarity to mystery; from additive to subtractive.

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  • Brian Gaman

    Monday, March 7, 2022

    In 2014, Brian Gaman, one of the founders of Romanov Grave died. We miss his exacting intellect and his rigorous vision for art but hope this page will help us and the art community remember him. A friend of his once said he was a fringe dweller. It turns out fringe is the place where […]

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  • Alex Branch

    Wednesday, February 23, 2022

    I think my interest in transformation can be traced back to my childhood growing up on an island in the Pacific Northwest. As a child, I was fascinated by the mysterious objects that would wash ashore from unknown places, some from the natural world, and also those that were human made but had been transformed by their time in the water. Barnacles and seaweed would attach to them, changing them into hybrids. When I work with found objects in the present day, they carry with them a residue of a life lived. It’s not possible to know exactly where the objects have been, or who interacted with them, but the fullness and richness of their experience resonates.

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  • Alexi Worth

    Tuesday, February 8, 2022

    In my current show giant fingers are the first thing you see, and they are unmistakable, […]. I think their obviousness mis-sets our expectations in a funny way, so that you feel you have a right to understand everything else as immediately. But you don’t. I’m interested in that mix of extreme clarity and uncertainty. That corresponds to my sense of things.

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  • Nick Van Zanten

    Monday, September 27, 2021

    My work starts from my pleasure in the tactile and visual experience of myself in these fabrics, which are shiny as if they were wet, colorful like neon, so wonderfully smooth that you just want to slide around in them, and so utterly unnatural that they put me outside my normal body. This same artificiality also makes them strange and abject, offering a promise of transformation that they can’t fulfill.

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  • Julie Evans

    Thursday, September 2, 2021

    In my sculptures, I have to compress anything I may want to suggest into the singular form, with no assistance from the space that surrounds it. This difference changes everything and requires me to be more direct, more specific, and more finite in the work. I can not smudge something into a ghostly state, (suggesting character) or indicate where or how a form exists in space. Working with the isolated forms themselves means they must be complete, discrete, and particular unto themselves.

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  • Elisa D’Arrigo

    Saturday, August 14, 2021

    I consider the works’ configurations to be poses in a way. They are taking a stance or are in a paused position between moves. I feel their position in my own body, and those positions often record or express my own transitory states of mind. Clay is a good material for revealing the previously unthought.

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  • A Reminiscence of Carol Hepper

    Tuesday, July 13, 2021

    Sarah van Ouwerkerk remembers Carol Hepper who passed away on April 29 2021.

    Listening to her, I was transported back to my own childhood in Wisconsin, lying in a cow pasture with my sister, staring up at the sky and thinking life was perfect. I will always be grateful for those conversations that reminded me of how I got here. They were sweet, tender, and inspiring. Theory, the business of art, all that comes later and is often more difficult to navigate. First, the artist has to be born, and Carol knew where she came from.

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  • MATT FREEDMAN

    Tuesday, June 15, 2021

    Earth receive an honored guest, our lightening sketch artist is laid to rest. But hey, not so fast. When Matt Freedman died on October 24, 2020 he left behind a studio brimming with artifacts; seems the artist was not quite emptied of his poetry after all.* And that the first image of Freedman’s studio should […]

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Grave Videos

Reviews

Apr
10

Liz Larner at Bonakdar Gallery

In one sense, Liz Larner’s new installation is held together oxymoronically, by lacunae. The spaces between are a large part of the power of this impressively laconic exhibition. Moreover, the items on display not only bear their paucity proudly but are each idiosyncratic, different from the next object, except for a shared allegiance to abstraction. […]

Mar
13

Tara Donovan at Pace Gallery

A sort of antic incrementalism, in which the sheer number of accumulated found objects stuns the viewer into submission, clogging their visual arteries, presently constitutes an academy in itself. How do we know? Art schools and project rooms across the nation are filled to the brim with such compilations. And indeed it is hard to […]

Mar
6

Janet Biggs at Winkleman gallery.

Auden went to the Arctic. Iceland, 1936. He was much taken with the Northern desolation of nature. He was young still. Searching, as they say, for ideals. For the right politics, the right sexuality, the right turn of poetry. (It was of course the last that came easiest to him). While there Auden penned a […]

Feb
20

Susan Unterberg at 16 East 84th

No sooner uncoiled from the sock in the gut delivered by Susan Unterberg’s powerful new portrait photos—with their contorted features, hair literally standing on end, they are horrific, hilarious, inscrutable—no sooner recovered than the viewer is almost immediately besieged by a teeming mass of unswerving allusions, as difficult to shake as a mob of pursuing […]

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Romanov Grave is a group of artists who write reviews and curate exhibitions. Some of us prefer to remain anonymous.

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