NYC///NEWS///TOMOO GOKITA’S “CHAMPION CARNIVAL” SHOW GLOWS IN NY TIMES
Every nascent artist knows that a glowing review in the NY TIMES can do wonders for “making” a career in the art world. Incredibly deserving Supertouch buddy TOMOO GOKITA got just such a boost this week when art writer KAREN ROSENBERG took notice of his excellent new show “Champion Carnival” at ATM GALLERY (previously covered HERE):
TOMOO GOKITA: ‘Champion Carnival’
ATM Gallery, 621 West 27th Street, Chelsea (through May 2)
“If you think that black-and-white painting is the province of Minimal and Conceptual artists, Tomoo Gokita’s strong second solo show in Chelsea will shatter your illusions. Mr. Gokita, a Japanese draftsman turned painter, invokes Surrealism, Op Art and post-painterly abstraction without ever dipping into color.
Mr. Gokita, who works in gouache and on a range of scales, specializes in controlled chaos: small areas of tonal modeling suggest a black-and-white photograph torn into tiny pieces and rearranged. Insectoid B-movie forms, as in “Solid State Survivor,” and occasionally puerile humor, as in “Hemorrhoids,” temper the palette’s austerity.
Female figures seem to inspire the most arresting compositions and varied brushwork. The limbs of the woman in “Night and Day” have the even, metallic sheen of forms in a Fernand Léger painting; her hair, meanwhile, is a frosted mass, like a thundercloud. And in “Kathryn,” a similar hairdo is a foil for a striped shirt and neat button earrings. The face is a featureless slab.
There’s something uncanny about Mr. Gokita’s art; it could almost be a black-and-white reproduction of a full-spectrum painting.” —Karen Rosenberg
- 09/01/2016 • First Look Madsaki Channels Takashi Murakami & Scarface at Hidari Zingaro, Tokyo
- 08/26/2016 • Art & Commerce | Andrew Jeffrey Wright Is Only In It For The Money At The Hole NYC
- 08/19/2016 • Art History | FBF: Remembering Andy Warhol & Basquiat’s 1984 Olympics Collab
- 08/03/2016 • First Look | Director Guillermo Del Toro is At Home With Monsters at LACMA
Comments are closed.