Ground Line Redefines How Women Artists Have Evolved
By Joe Bendik
Daniele Marin’s current exhibition, Ground Line, at Noho Gallery explores how women in art and society have evolved over time. By using iconic imagery along with the mundane, Marin recontextualizes these images to create nonlinear narratives. Doing this makes the historical information seem fresh. Marin also uses fabric in the acrylic paintings, creating texture and delineating space.
As Marin said, “The incorporation of fabric shifts the expectation about traditional feminine arts.” It also serves as an anchor point for the eye, a place of return.
Marin considers the painting surface a stage where different techniques communicate with each other. In fact, the paintings themselves seem to speak to each other. The color of each painting works within the bigger concept of the show. Marin is particularly interested in “the ground line,” the foundation for this exhibit, which is the horizontal plane on which objects sit. She weaves this into all of the works, establishing unity while referencing “still” images from the past, thereby reclaiming and redefining their roles as ‘feminine.’ The result is a new way of viewing traditional materials.
Marin was born in Paris but lives in the United States. She has an MFA from the Pratt Institute and has won two painting awards from the Visual Arts Center in New Jersey. She has been featured in Art in America and Woman’s Art Journal (Rutgers), among other publications. Some of her works are in the collection of the Newark Museum, the Montclair museum and Merrill Lynch, as well as private collections.
This show runs through Feb. 4. While visiting the exhibition, I had the eerie feeling of walking through a different state of being; somehow becoming a part of the ground line myself, as if I was inside the paintings.
Daniele Marvin: Ground Line
Noho Gallery, 530 W. 25th St., 4th Fl., 212-367-7063, www.danielemarin.com.
Tuesday–Saturday, 11 a.m. to 6 p.m.
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Porgy and Bess has been something like this season’s highbrow Spider-Man: Turn Off the Dark. Both shows came to Broadway trailing a wake of scandal and op-eds—except Porgy and Bess had Stephen Sondheim and the New York Times weighing in, while Spider-Man had the Post. And in both cases, what finally showed up on stage was…underwhelming. Read more
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