Ginny Casey - Artists - Nino Mier Gallery

Ginny Casey, ‘Bewitched’, at Nino Mier Gallery February 2023

Compiled under an enchanted or bewitched title, the exhibition 'Bewitched' presents a set of paintings and drawings by the American artist Ginny Casey which break with the physical and psychic integrity of domestic spaces to bring them towards a surrealism which mixes on the pictorial surface, animated and inanimate forms centered in square compositions designed like portraits.

Mu In the City

LES MONDES ONIRIQUES DE GINNY CASEY ET NEL AERTS 26 January 2023

La galerie Nino Mier, située à deux pas de la place du Sablon, présente deux femmes artistes : Ginny Casey et Nel Aerts. Toutes deux signent des expositions associant peintures et dessins et qui dévoilent leur imaginaire fantastique. Ginny Casey explore l’inquiétante étrangeté de la sphère domestique, tandis que Nel Aerts nous immerge dans sa psyché intérieure à travers l’émanation de la figure monstrueuse du cyclope.

Architectural Digest

This Slime Queen's Williamsburg Apartment is Stuffed with Art September 2022

Karen Robinovitz has a spidey sense for what’s about to be cool. For decades she’s collected contemporary art, snagging works by stars like Emily Mae Smith, Julie Curtiss, and Genesis Belanger just before they hit the big time. In 2010 she cofounded Digital Brand Architects, a talent management agency for influencers that cemented their role in the media landscape. By 2018, she was lurking on Etsy, buying, of all things, bespoke slime from savvy young makers who were not yet old enough to drink.

Artnet News

Editors’ Picks: 8 Things Not to Miss in New York’s Art World This Week September 2019

Whether referring to the psychological interior, the physical space of the home, or the grand-scale politics of the world, the theme is ripe for artists including Chloe Wise, Vaughn Spann, Natalie Ball, Louise Bonnet, Ginny Casey, and Genieve Figgis, among others.

FAD Magazine

Domestic Horror, an Upcoming Group Exhibition that will Probe the Tension Between Civilized Order and Chaotic Disorder August 2019

Here, the word “Domestic” contains a potent double meaning: it is a reminder that in both one’s home life as well as in a larger cultural context and national life, unintended consequences can occur when external pressures meet internalized anxieties. This exhibition, which includes a number of young and emerging artists, probes the tension between civilized order and chaotic disorder.

Blouin Artinfo

Ginny Casey and Jessi Reaves at Institute of Contemporary Art, Philadelphia July 2017

The selection of works on display features new and recent works by Casey and Reaves that explores the relationship between contemporary painting and sculpture, domestic objects, and decorative surfaces. The exhibit contains more than 30 works many of which were created especially for this show. The creations imagine and re-imagine the form and function of objects encountered in daily life. Surreal still-life scenes of vases, chairs, fans, hammers, tables, and other things of everyday life are represented through Ginny Casey’s paintings.

Painters' Table

Ginny Casey: Built from Broke at Mier Gallery June 2017

Brooklyn artist Ginny Casey paints forms that she would have made if she weren’t a painter, and places them in spaces that are not of this world. “Built From Broke” is her first solo show at Mier Gallery and includes six oil paintings as well as small studies for the paintings which are painted on cardboard.

Art in America

Ginny Casey January 2017

Ginny Casey’s paintings often cast objects and human forms in allegories for making. On view in her recent exhibition at Half Gallery, for instance, The Potter’s Legs (2014) depicts a purple fleshed figure struggling to carry a vaguely earshaped form toward a large block of gray clay draped with a cutting wire, the image capturing the sense of an artist’s clumsy crawl toward resolution. The influence of Philip Guston is apparent throughout Casey’s work.

HyperAllergic

Paintings that Conjure the Ghostly Hand of the Artist February 2016

Ghost Maker brings together Ginny Casey’s new large-scale paintings of still lifes and floating hands. The surfaces of these paintings are lovingly worked over in multiple thin layers which build up the forms, providing a visual depth and a paint history. The colors are mostly muted, adding power to moments of saturation. The namesake color of “Blue Hands” practically glows. These are very considered paintings, self-referentially depicting the unseen acts the painter undertakes to make a final piece.

The New Yorker

Ginny Casey January 2016

Bodies haunt still lifes in this New Yorker painter’s enchanting solo début. Eyes peek out from under the lid of a jar. Bulging pots rest on tabletops, suggestively prodded and pinched by disembodied hands in gangrenous tones of blue, green, and purple. The handle of a hammer bends, as if made of flesh. Brushy, soaked-in, sanded-down paint imbues the mottled light and eccentric forms with a subaquatic softness.

Brooklyn Magazine

Ginny Casey: An Artist’s Search for Meaning March 2013

It’s easy to get lost in one of Ginny Casey’s paintings; easy to think that each brushstroke and each decision that she made, were all part of some long, thought-out, meticulously crafted plan. But, according to Casey, that’s not exactly right. “What drives my paintings isn’t strategy or plans, concepts or a narrative”, she says.

Art F City

There are customary systems for composing an image which become clear after a long day of trolling artists’ websites— central shapes, which fit comfortably inside the edges of the picture plane, and room for the eye to move back in space. Ginny Casey’s paintings defy that mold, producing the same clunky, sentimental quality that Susan Rothenberg and Phillip Guston do so well. It’s a quality that only happens in painting.