Ryan

Thick swathes of blue, orange, yellow, red, and black burst forth in James Falconer’s Hateha. Streaks of orange with yellow highlights and blue with thin black outlines explode like fireworks from behind the unfamiliar central shape.

In John Shimon and Julie Lindemann’s black-and-white photograph, a young man and woman pose for a photograph captured using techniques from the past.

At first glance this colorful scene appears idyllic. Lawn chairs with matching fuchsia and orange stripes recline near a path of light. The lemon sky is turning orange and pink, with streaks of purple and lime.

Some Other Tree and Sites Unscene display Gladys Nilsson’s delight in creating puzzling spaces crowded with interacting figures, and scenes where sizes of people and objects defy natural proportions.

Frida Kahlo painted Still Life: Pitahayas in 1938 when she was thirty-one years old. It was painted with oil on aluminum, the traditional materials used in Mexico for religious altar paintings, known as ex-votos and retablos, which a supplicant would offer to a saint to acknowledge an answered prayer.

In A One Act Play, the familiar comic book hero Wonder Woman is confronted by another female character whose blonde hair, beaded necklace, and wrist cuff help identify her as Wonder Woman’s major adversary Queen Clea, ruler over parts of the underwater world of Atlantis.

At once beautiful and mysterious, the paintings of Erik Weisenburger enchant viewers with their luscious color and intricate detail. Upon first glance, his painting Ursa Memoriam may recall traditional still-life or historical painting, but closer inspection reveals a contemporary voice that presents timeless subjects in new contexts.

In Ellen Lanyon’s 1982─83 painting Chromos: Winter I, Autumn II, Spring III, Summer IV, four separate canvases function together as a single work of art that depicts the four seasons. Though Lanyon uses distinct colors and symbols to represent the individual seasons, she links the four separate paintings into a coherent whole by repeating the same motifs.

Ed Flood’s Aluminum Floater #2 is made from layers of Plexiglas in an aluminum frame. The artwork’s transparency causes its environment to be part of the composition. Organic shapes resembling seaweed, or perhaps amoebae or other microscopic life forms, seem to emerge from the edges of the frame and wriggle across the surface.

In Moonrise, an apparently festive occasion—people arriving at a brightly lit pavilion for a night of dancing—forms the backdrop for a potentially dangerous encounter. The action takes place in the bucolic surroundings of a lakeside resort.