Guest Curated by
Laura Fried
Laura Fried is an LA-based curator and the Co-Founder and Director of Active Cultures, a nonprofit organization that explores the convergence of food and art in contemporary life. Throughout her career, Fried has advocated for artists and institutions while pushing forward new models for engagement and exhibition making. We’re delighted to share Fried’s curation of Tappan artworks and her insightful, art historical perspective.
Guest Curated by
Laura Fried
Laura Fried is an LA-based curator and the Co-Founder and Director of Active Cultures, a nonprofit organization that explores the convergence of food and art in contemporary life. Throughout her career, Fried has advocated for artists and institutions while pushing forward new models for engagement and exhibition making. We’re delighted to share Fried’s curation of Tappan artworks and her insightful, art historical perspective.
Laura Fried says
"Alexandra Karamallis’ paintings and drawings hold this specific, luminous interiority that for me recalls Matisse. There is a way she develops these intricate relationships to spatial planes and this incredible, if isolated, subject that immediately reminds me of ‘The Piano Lesson,’ a painting I’ve thought about quite a lot in these last 9 months of the pandemic."
Laura Fried says
"Tadahiro Gunji’s catalog of referents for his sculptural wall works—from Gutai to Ellsworth Kelly—speaks to his highly attuned sensibility. ‘Collecticity 051’ is so interesting to me: it is at once figure and landscape, contrapposto and angular. A non-figure that winks."
Laura Fried says
"Tadahiro Gunji’s catalog of referents for his sculptural wall works—from Gutai to Ellsworth Kelly—speaks to his highly attuned sensibility. ‘Collecticity 051’ is so interesting to me: it is at once figure and landscape, contrapposto and angular. A non-figure that winks."
Laura Fried says
"I wish I could be with James Perkins’ works in person. His ‘Stacks,’ particularly this one, certainly hold space for the antecedent rigors of minimalism (from John McCracken to Richard Serra to Anne Truitt); for a legacy of West Coast Light and Space; and even for earlier odes to sun and sea by James Diebenkorn. Yet the effects of the natural world on these objects—the sun, sand, wind, and water he deploys in the process—must also have a profound and surprising effect on your viewing, your capacity to behold them. I can’t wait to experience this work for myself.
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