{"id":1982,"date":"2019-07-12T16:22:22","date_gmt":"2019-07-12T16:22:22","guid":{"rendered":"https:\/\/www.susaneleyfineart.com\/news\/?p=1982"},"modified":"2019-09-12T20:07:49","modified_gmt":"2019-09-12T20:07:49","slug":"critic-lilly-wei-picks-winners-from-on-the-rocks","status":"publish","type":"post","link":"https:\/\/www.susaneleyfineart.com\/news\/?p=1982","title":{"rendered":"Critic Lilly Wei picks winners from ON THE ROCKS"},"content":{"rendered":"<div>We&#8217;re coming to the halfway point of <a href=\"https:\/\/www.susaneleyfineart.com\/Detail\/exhibitions\/146\">ON THE ROCKS<\/a>! It&#8217;s been such an enjoyable show and gallery visitors are impressed by the breadth of genres and how each artist handled the theme.\u00a0To celebrate the show, SEFA invited Lilly Wei to choose three winners and three honorable mentions. See her selections below.<\/div>\n<div><\/div>\n<div>On Friday, July 12, critic <a href=\"http:\/\/www.artnews.com\/tag\/lilly-wei\/\">Lilly Wei<\/a> stopped by the gallery to see the work and make her selections. She spent about 2 hours sitting with the art and walked through several times. After careful consideration, she made her choices. Read about her selection process below.<\/div>\n<div><\/div>\n<div>Winners:<\/div>\n<div>\n<ul>\n<li>1st: James Isherwood,\u00a0<i><a href=\"https:\/\/www.susaneleyfineart.com\/Detail\/exhibitions\/146\/view\/images\/id\/2934\">The Perception of Monuments<\/a><\/i><\/li>\n<li>2nd: Melanie Kozol,\u00a0<i><a href=\"https:\/\/www.susaneleyfineart.com\/Detail\/exhibitions\/146\/view\/images\/id\/2977\">Karst<\/a><\/i><\/li>\n<li>3rd: Travis Childers,\u00a0<a href=\"https:\/\/www.susaneleyfineart.com\/Detail\/exhibitions\/146\/view\/images\/id\/2993\"><i>Brickscapes<\/i><\/a><\/li>\n<\/ul>\n<div>Honorable mentions:<\/div>\n<div>\n<ul>\n<li>Seongmin Ahn,\u00a0<a href=\"https:\/\/www.susaneleyfineart.com\/Detail\/exhibitions\/146\/view\/images\/id\/3010\"><i>Aphrodisiac 09<\/i><\/a><\/li>\n<li>Jeffrey Rothstein,\u00a0<a href=\"https:\/\/www.susaneleyfineart.com\/Detail\/exhibitions\/146\/view\/images\/id\/2920\"><i>The Blue Wall from Zion: Plateaux of Mirrors Series<\/i><\/a><\/li>\n<li>Kate Snow,\u00a0<a href=\"https:\/\/www.susaneleyfineart.com\/Detail\/exhibitions\/146\/view\/images\/id\/2991\"><i>This Seemingly Limitless Breadth of Time<\/i><\/a><\/li>\n<\/ul>\n<figure id=\"attachment_1993\" aria-describedby=\"caption-attachment-1993\" style=\"width: 374px\" class=\"wp-caption alignright\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1993\" src=\"https:\/\/www.susaneleyfineart.com\/news\/wp-content\/uploads\/2019\/07\/James-Isherwood_Perception-of-Monuments-450x300.jpeg\" alt=\"\" width=\"374\" height=\"249\" srcset=\"https:\/\/www.susaneleyfineart.com\/news\/wp-content\/uploads\/2019\/07\/James-Isherwood_Perception-of-Monuments-450x300.jpeg 450w, https:\/\/www.susaneleyfineart.com\/news\/wp-content\/uploads\/2019\/07\/James-Isherwood_Perception-of-Monuments-255x170.jpeg 255w, https:\/\/www.susaneleyfineart.com\/news\/wp-content\/uploads\/2019\/07\/James-Isherwood_Perception-of-Monuments-768x512.jpeg 768w, https:\/\/www.susaneleyfineart.com\/news\/wp-content\/uploads\/2019\/07\/James-Isherwood_Perception-of-Monuments-1024x682.jpeg 1024w\" sizes=\"auto, (max-width: 374px) 100vw, 374px\" \/><figcaption id=\"caption-attachment-1993\" class=\"wp-caption-text\"><em>James Isherwood, The Perception of Monuments (2019), Acrylic on wood panel, 24&#8243; x 36&#8243; x 1.5&#8243;<\/em><\/figcaption><\/figure>\n<p>I confess that it was difficult for me to choose only three winners and just as difficult to choose only three honorable mentions, even though these kinds of selections are something I do quite often, the choices at times determined by the slightest of differences and are, of course, subjective even if, I hope, informed.<\/p>\n<p>While there were multiple reasons for my selections, what was foremost in my mind was how the work I was looking at evoked landscape, in particular mountainous terrain. I asked myself, among other questions, did it make me pause in front of it?\u00a0 How innovative or idiosyncratic was it? How specific, how individualized was the \u201cvoice?\u201d How was the image formally and conceptually constructed or deconstructed? Did it make me notice something I hadn\u2019t before?<\/p>\n<p>From that, I came up with these six works listed at the top. I congratulate James Isherwood, Melanie Kozol, Travis Childers, Seongmin Ahn, Jeffrey Rothstein and Kate Snow on their remarkable achievements.<\/p>\n<p>I also congratulate all the participating artists of On the Rocks. It was a rich, commendably selected grouping, enhanced by Susan Eley\u2019s sensitive installation. The interaction that took place between the works was absorbing, the show a pleasure to see and think about.<\/p>\n<p>&#8212; Lilly Wei<\/p>\n<p>&nbsp;<\/p>\n<h5><em>Lilly Wei (b. Chengdu, China) is a New York-based independent curator, writer, journalist and critic whose area of interest is global contemporary art and, in particular, emerging art and artists. Her work has appeared in dozens of publications worldwide and she is a longtime contributor to\u00a0Art in America,\u00a0a contributing editor at\u00a0ARTnews,\u00a0and a former contributing editor at\u00a0Art Asia Pacific\u00a0in the United States.\u00a0The author of numerous catalogues and monographs, she has curated exhibitions in the United States, Europe and Asia. Wei\u00a0lectures frequently on critical and curatorial practices and sits on the board of several not-for-profit art organizations. She has an MA in art history from Columbia University, New York.<\/em><\/h5>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>We&#8217;re coming to the halfway point of ON THE ROCKS! It&#8217;s been such an enjoyable show and gallery visitors are impressed by the breadth of genres and how each artist handled the theme.\u00a0To celebrate the show, SEFA invited Lilly Wei to choose three winners and three honorable mentions. See her selections below. On Friday, July &hellip;<\/p>\n","protected":false},"author":1,"featured_media":2016,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1982","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.susaneleyfineart.com\/news\/index.php?rest_route=\/wp\/v2\/posts\/1982","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.susaneleyfineart.com\/news\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.susaneleyfineart.com\/news\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.susaneleyfineart.com\/news\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.susaneleyfineart.com\/news\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1982"}],"version-history":[{"count":18,"href":"https:\/\/www.susaneleyfineart.com\/news\/index.php?rest_route=\/wp\/v2\/posts\/1982\/revisions"}],"predecessor-version":[{"id":2018,"href":"https:\/\/www.susaneleyfineart.com\/news\/index.php?rest_route=\/wp\/v2\/posts\/1982\/revisions\/2018"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.susaneleyfineart.com\/news\/index.php?rest_route=\/wp\/v2\/media\/2016"}],"wp:attachment":[{"href":"https:\/\/www.susaneleyfineart.com\/news\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1982"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.susaneleyfineart.com\/news\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1982"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.susaneleyfineart.com\/news\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1982"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}