The Romantic notion of the sublime continues to haunt our consciousness, often accompanied by a healthy dose of critique. The concept, most famously articulated in the influential writings of Edmund Burke and Immanuel Kant, posits, in a simplified version, that a form might either delight the eye (the beautiful) or overwhelm the viewer through scale, power and grandeur (the sublime). In The Feminine Sublime, currently on view at the Pasadena Museum of California Art, five Los Angeles-based painters further explore this legacy in response to contemporary conditions. That these artists happen to be female, dealing with notions typically ascribed to their male counterparts, offers another layer to excavate.
Perfectly paired, artists Ty Pownall and Yvette Gellis offer large- scale, abstract mixed media works that seem to have slipped from the walls and onto the loor on their own. Gellis has created stunning wall work in oil, acrylic, graphite, and original photo-transfers. These large pieces are paired with the polyurethane foam, oil, and acrylic sculpture, of “3-Dimensional Liminal Space,” a work of sliced foam that seems to have been taken from the heart of a volcano. “Liminal” refers to a position on both sides of, or approaching, a boundary or threshold, and Gellis evokes the feeling of entering a portal with her art.
Liminal: occupying a position at, or on both sides of, a boundary or threshold. “Liminal Spaces” at Jason Vass gallery, which opened Saturday night, occupies a position of cool, whether the boundary is mixed-media wall art, free-standing sculpture, or something in between.
Perfectly paired artists Ty Pownall and Yvette Gellis drew lively, engaged crowds to their two solo shows, featuring works that were large scale, abstract, and the ultimate in mind-blowing visuals.
To April 14, 2018
by Jody Zellen
What is a liminal space? Liminal refers to something transitional, as if at a boundary or threshold. In their exhibition, aptly titled Liminal Spaces, Yvette Gellis and Ty Pownall have filled both the walls and floor of the gallery. Works by these seemingly unrelated artists are interspersed in the space to create a conversation about crossing over— be it because they push at the boundaries of abstraction or because of their use of hybrid materials. While Pownall’s works appear more minimal, Gellis’ are complexly packed.
By Lorraine Heitzman
Constance Mallinson has assembled a first rate group of women painters to address the concept of the sublime in art from a feminist standpoint. Each of the five artists in “The Feminine Sublime” at The Pasadena Museum of California Art explores their relationship to the landscape in a shift from the traditional male perspective towards a new paradigm. The concept may be oblique to the casual viewer but the paintings are inspired by any measure.
Pasadena Museum of California Art exhibit offers more boldly immersive feminine perspectives on nature and the environment
“Has there ever been a better time to discuss women and the environment?”
So asks artist Constance Mallinson in conversation about “The Feminine Sublime,” an exhibit she curated that opens at the Pasadena Museum of California Art this weekend. Addressing themes of feminine perspective, environmental degradation and the artistic concept of the sublime, “The Feminine Sublime” upends preconceived notions of what constitutes landscape painting with bold, large-scale pieces by Mallinson and four other women artists based in Los Angeles: Merion Estes, Yvette Gellis, Virginia Katz and Marie Thibeault.
By Gary Brewer
“First of all, on the surface on which I am going to paint, I draw a rectangle of whatever size I want, which I regard as a window through which the subject to be painted is seen.” ~Leon Battista Alberti, De pictura, 1435
Yvette Gellis in the largest and most important newspaper in uper Austria.
Eröffnung: Freitag 29. Jänner 2016, 19.00 Uhr mit
Elisabeth Brunnhofer u. Paul Jaeg
Dauer der Ausstellung bis Samstag 5. März 2016
by DAVID M. ROTH
From Da Vinci to Picasso to Hockney, shifts in perspective have long reflected changes in how technology enables us to see. Non-Objective painting (and later Abstract Expressionism), with their focus on matters of the spirit, seem to have flown right past the immediate environs of their creators, thereby sidestepping any significant reimagining of urban and architectural space. LA painter Yvette Gellis seeks to alter that by using the outward trappings of Abstract Expressionism to forge new possibilities.
By Kenneth Baker
Art Critic SF Chronicle
Friday, March 13, 2015
CRITIC’S PICKS: 2014 Top 10 Lists By Molly Enholm – Yvette Gellis “1,000 Ways to See It”
Three-dimensional rifts on previous work, seemingly on the brink of new discoveries.
Haiku Reviews: ART 2014 Roundup II by Peter Frank–Yvette Gellis paints with such energy and ambition that the very boldness of her approach becomes its own raison d’être. Gellis does not simply capitalize on her own fervor, however, but puts it to work toward a yet more expansive end, the merger of painting and architecture.
Betty Brown; Art Week LA – Betty Brown reviews two exhibitions in alternative spaces, one a private home, the other a storefront that serves primarily as a center for photographic education.
Huffington Post Arts; Peter Frank – Yvette Gellis determines an unsettling condition in her paintings, one in which a clearly urban environment becomes so taken up by its own dynamism that it begins to disintegrate.