DAVID GIBSON WRITING

REVOLUTION V (2015), Monotype, serigraphy. and lasercut on three layers of rice paper, 29 x 29 inches The art of Amy Sands presents models by which we may interpret the primordial structures and charismatic energy around us. A certain approach to artistic creation belies a felicitous understanding of what is most essential, misunderstood, or obscured in nature, and redirects it to our aesthetic comprehension. Printmaking is about process, and each of the names that are given to the types of prints carry with them the association we have to a particular process and its resulting product, which carries with it the aura of action that preceded it. Yet complexity can enter into the welter of intentions that aid in the conceptualization of these works. If the artist has ideas about her final product that carry over from other creative disciplines, such as sculpture or lace making, then the proliferation of stylistic motifs will dominate the work’s appeal, and will diverge from the

  SANDRA GOTTLIEB: October Waves #23 (2013) This exhibition hides behind a prosaic title that only slyly serves its ultimate purpose: to present the advanced visual agendas of a crop of mature artists working in a field only vestigially related to what one commonly refers to as photography. Their cumulative inventiveness is a breath of fresh air within the overcrowded milieu of the current demimonde. Sandra Gottlieb is a portrait painter of nature’s wildest manifestations—the waves that thrash upon the shore, and which form a seemingly endless landscape beyond the reaches of solid earth. Her images run the gamut from explosive to contemplative. They are unique in that they treat their subject with indifference toward anything but discoveries of serendipitous design. Her favorite hunting ground for capturing these images is 500 feet off the sand in Brighton Beach, where her telephoto lenses capture the minute and the grandiose alike, each swirl or crest a gesture unique