Inka Essenhigh is included in the exhibition Rounding the Circle: The Mary and Al Shands Collection, on view at the Speed Art Museum through 6 August.
Judy Pfaff is included in the exhibition After "The Wild": Contemporary Art from The Barnett and Annalee Newman Foundation Collection, on view at The Jewish Museum through 1 October 2023.
Dodai Stewart shares Ryan McGinness' reimagining of the new 'We ♥️ NYC' logo.
Pia Fries is included in the exhibition Print is a Battlefield at Museo Villa dei Cedri.
Watching and Waiting: Enrique Martínez Celaya Selected Sculpture 2005–2023 is on view 31 March – 5 June at the Museo Marino Marini.
Pia Fries exhibition durch sieben siebe is on view through August 2023 at Lido Malkasten, Künstlerverein Malkasten.
Inka Essenhigh is included in Salomé Gómez-Upegui's Artsy article, The New Generation of Transcendental Painters.
David Ambrose reviews Warren Isensee's current exhibition for Whitehot Magazine.
Reporter Jonathan Stringfellow interviews Bo Bartlett for Columbia University's, The Uproar.
Aprik Gornik and her husband Eric Fischl are featured in Cultured Magazine.
Jerry Saltz reviews Warren Isensee's current exhibition for Vulture in New York Magazine.
Oakland-based abstract artist David Huffman takes us on a trip down memory lane, thoughtfully mapping out how basketball hoops, new wave science fiction, “Free Huey Newton” flags, progressive soul, and pyramids coalesce into the language of his work today.
Earthly Matters is on view at the Bo Bartlett Center through 28 April 2023.
Warren Isensee is featured as one of Artnet's February "5 Intriguing Artists."
Erin Lawlor is featured as one of Artsy's 5 Artists on Our Radar in February 2023.
David Huffman and Jason Middlebrook are featured in Hoop Dreams: Basketball and Contemporary Art, on view at the Everson Museum of Art in Syracuse, New York.
Warren Isensee's current exhibition is reviewed by Eli Anapur in Widewalls.
Alongside works from the 1990s, this exhibition at Kunsthaus Baselland shows Pia Fries' most recent works for the first time in Switzerland. The exhibition is curated by Ines Goldbach and on view through 9 July 2023.
Jacob Hashimoto's site-specific installation, The Fractured Giant, is on view at the Boise Art Museum through January 2024.
James Siena is included in the exhibition, The Searchers, presented by the Philadelphia Art Alliance at University of the Arts, now on view.
Evan Pricco reviews Daniel Rich's Flat Earth in Juxtapoz Magazine.
Rico Gatson is included in Poor People’s Art: A (Short) Visual History of Poverty in the United States, now on view at the USF Contemporary Art Museum.
Invincible Summer, a solo exhibition of paintings by Erin Lawlor, is on view through 19 March at the Wellington Arch Museum in collaboration with Vigo Gallery.
Spectral Visions is featured in Galerie Magazine.
SFMOMA tours the studio of David Huffman.
Rico Gatson's exhibition Spectral Visions is included in the digital weekly of Air Mail
Rico Gatson is featured on the Cerebral Women Art Talks podcast.
Jacob Hashimoto's installation This Particle of Dust is on view through December 2023 at the Tampa Museum of Art.
Miles McEnery Gallery is pleased to announce representation of Jim Isermann.
James Siena's solo exhibition at 525 West 22nd Street is reviewed by John Yau in Hyperallergic.
David Huffman is included in "Both Teams Played Hard," on view as part of Open Ended: Painting and Sculpture, 1900 to Now, at the San Francisco Museum of Modern Art.
Fiona Rae's solo exhibition at 511 West 22nd Street is reviewed in The Brooklyn Rail.
Rico Gatson's Toni #2 (2021) has been acquired by the Nasher Museum of Art at Duke University in Durham, NC.
Fiona Rae is featured in Artnet News' November roundup.
Inka Essenhigh's Green Goddess II (2010) included in promised gift to the Speed Art Museum
Liz Nielsen's exhibition Edge of Forever is featured by Collector Daily
David Huffman is included in A Point Stretched: Views on Time at the San Jose Museum of Art.
Norman Bluhm's summer exhibition at 525 West 22nd Street is reviewed by Barry Schwabsky in the November issue of Artforum.
Jacob Hashimoto: Fractured Giants is on view through 21 January 2024 at the Boise Art Museum.
Bo Bartlett's painting Hurtsboro has been acquired by the Gibbess Museum of Art in Charleston, SC.
Trudy Benson's Kintsugi (2021) is available to bid on in the Rema Hort Mann Foundation's 25th Anniversary Gala Silent Benefit Auction 2022.
Liz Nielsen's exhibition 'Edge of Forever' is featured in The Wall Street Journal
Judy Pfaff's solo exhibition smokkfiskur: a tale is now on view at the Museum of New Art, Portsmouth, NH
Enrique Martínez Celaya: The Foreigner's Song is reviewed by Irene Lyla Lee in The Brooklyn Rail
Brian Alfred's work is featured in the exhibition City, Country, Connectivity at the Kunst für Angeln e.V.
Elizabeth Magill's solo exhibition Flag Iris is reviewed by Millree Hughes in Culture Catch
Richard B. Woodward reviews the Parrish Art Museum exhibtion, 'Joaquín Sorolla and Esteban Vicente: In the Light of the Garden,' pairing the late-career works of two Spanish-born masters who found inspiration in the green spaces of their home.
Rico Gatson is included in the exhibition Color Code at the McEvoy Foundation for the Arts.
James Siena's upcoming exhibition is featured in the current issue of Art New England
David Allan Peters is included in the group exhibition Hybrid Spaces at Borusan Contemporary in Istanbul, Turkey.
Elliott Green is included in Symbiosis, a group exhibition curated by Beth Rudin DeWoody, at the Berkshire Botanical Garden.
5 Talents From the Artnet Gallery Network We’re Keeping an Eye on as the Fall Season Kicks Off
Spotlight: Cuban-Born Artist Enrique Martínez Celaya Conjures Themes of Identity and Longing in a Show of Allusive Recent Works in New York
Bo Bartlett: Earthly Matters is now on view at The Gibbes Museum of Art in Charleston, SC.
Lisa Corinne Davis' work is included in the exhibition Given Time at the Milton Resnick and Pat Passlof Fountation.
Miles McEnery Gallery is pleased to announce representation of Jacob Hashimoto.
Brian Alfred featured in an interview with Shoutout LA.
Enrique Martínez Celaya: The Foreigner's Song is featured in Artnet News' Armory Week exhibition roundup.
David Huffman's solo exhibition, Terra Incognita, at the Museum of the African Diaspora is reviewed in the September issue of Artforum.
Enrique Martínez Celaya: The Foreigner's Song is featured as one of Ocula Magazine's exhibitions to see in New York this fall.
Enrique Martínez Celaya: The Foreigner's Song is featured in this week's Air Mail
Jason Middlebrook is included in the exhibition Forest Through the Trees at Laumeier Sculpture Park.
Colossal editor Kate Mothes interviews Jacob Hashimoto.
The multidisciplinary artist’s bold and bright works shine a spotlight on the African-American experience and pay homage to some of its historical icons
Judy Pfaff's exhibition at Truro Center for the Arts at Castle Hill is now on view through 2 September 2022.
Miles McEnery Gallery congratulates Michael Reafsnyder on being awarded a 2022 Pollock-Krasner Foundation Grant.
The Parrish Art Museum opens an exhibition featuring the work of Esteban Vicente in conversation with paintings by Joaquín Sorolla.
Rico Gatson is the second artist to create murals for the Birmingham Museum of Art's Wall to Wall installation series.
John Yau's review of Norman Bluhm's solo exhibition is featured in Hyperallergic.
Beverly Fishman is featured in The Detroit News for her exhibition Recovery at the MSU Broad Art Museum.
David Huffman's solo exhibition Terra Incognita is featured in The Mercury News.
Lush and enchanting gardens were a continual muse for Spanish artists Sorolla and Vicente whose careers spanned different centuries.
Forcefield, a large-scale, site-specific installlation, is on view at Newburgh's Dutch Reformed Church from sunset to midnight every night through 30 September 2022.
David Carrier reviews DUAL: Lisa Corinne Davis & Shirley Kaneda at the New York Studio School in Two Coats of Paint.
Lisa Corinne Davis and Shirley Kaneda: Different strokes
Tomory Dodge is included in Abstract Los Angeles: Four Generations at the Brand Library & Art Center through 2 September.
USF Contemporary Art Museum to open new exhibit
The recontextualization of Wolf Kahn's work will make it more accessible for researches, collectors, scholars, and the general public.
The Lyrical Moment: Modern and Contemporary Abstraction by Helen Frankenthaler and Heather Gwen Martin at the USF Contemporary Art Museum in Creative Pinellas
Six cultural institutions to be awarded $800,000 in grant initiative honoring the joint legacy of the 62-years-married artists Wolf Kahn and Emily Mason
Rico Gatson's "Untited (Flag IIII) is included in the exhibition Light Play at the Birmingham Museum of Art.
The Lyrical Moment, an exhibition of works by Heather Gwen Martin and Helen Frankenthaler, is on view at the USF Contemporary Art Museum through 30 July 2022.
NEW YORK, NEW YORK – MILES McENERY GALLERY is pleased to announce representation of Lisa Corinne Davis.
David Huffman's 'Akhet 1' is featured in The New York Times.
Lisa Corinne Davis, alongside Shirley Kaneda, is featured in the exhibition DUAL at the New York Studio School through 17 July.
Glen Helfand on David Huffman's Terra Incognita in Squarecylinder
Rico Gatson is included in the show "The Artist's Eye" at the UC Berkeley Art Museum and Film Archive.
FLAMINGLOVEANDDESTINY, a site-specific installation by Markus Linnenbrink, is on view at Fundación DIDAC through 11 September 2022.
Brian Alfred in conversation with Maria Vogel in Hii Magazine.
Inka Essenhigh is included in The View from Here at the Center for Maine Contemporary Art.
Franklin Evans site-specific installation is included in the exhibition What a Wonderful World at Museo MAXXI.
Brian Alfred discusses his new book Why I Make Art in Widewalls.
Michael Reafsnyder's current exhibition reviewed in Air Mail.
The Fire of Heaven: Enrique Martínez Celaya and Robinson Jeffers is on view at the Monterey Museum of Art through 9 October.
Beverly Fishman's solo exhibition "CURE" is on view at The Dayton Contemporary through 22 July 2022.
Yunhee Min is one of the artists selected to create a site-specific artwork for the future Westwood/UCLA Station.
Elliott Green's exhibition at the gallery is one of David Ebony's top New York City shows this spring.
David Huffman is featured in the group exhibition Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press, on view at the Bakersfield Museum of Art.
Curator and advisor Lolita Cros in conversation with artists Bahar Behbahani, Rico Gatson, and MTA Arts & Design director Sandra Bloodworth.
NEW YORK, NEW YORK – MILES McENERY GALLERY is pleased to announce worldwide exclusive representation of the Wolf Kahn Foundation.
Brian Alfred's latest exhibition ponders an Earth void of humans
NEW YORK, NEW YORK – MILES McENERY GALLERY is pleased to announce representation of James Siena.
NEW YORK, NEW YORK – MILES McENERY GALLERY is pleased to announce representation of Fiona Rae.
Miles McEnery Gallery is pleased to announce the opening of a new gallery at 525 West 22nd Street this April. The new location will be the gallery’s fourth space in Chelsea, New York, providing an additional 7,000 square feet, bringing the gallery’s footprint to 26,000 square feet, across 22nd and 21st Streets.
John Yau's review of Elliott Green's solo exhibition, 'Is It an Artificial Paradise or an Artificial Hell or Both?,' is featured in Hyperallergic.
Castle in the Sky, Danny Ferrell's inaugural solo exhibition at the gallery, reviewed in Juxtapoz Magazine.
Yunhee Min has been awarded a Guggenheim Fellowship in Fine Arts by the John Simon Guggenheim Memorial Foundation.
8 Fascinating New York Gallery Shows to See in April 2022
By Julian E.J. Sorapuru
David Huffman's exhibition Terra Incognita, on view at the Museum of the African Diaspora, is featured in The San Francisco Standard.
The Baer Faxt sits down with Cuban painter Enrique Martinez Celaya at UTA Artist Space in Los Angeles to paint a portrait of his own practice.
By Ayla Angelos
David Huffman's solo exhibition "Terra Incognita" is on view through 18 September 2022 at the Museum of the African Diaspora in San Francisco, CA.
Inka Essenhigh and April Gornik are included in the exhibition "Empire of Water" at The Church in Sag Harbor, NY.
David Huffman is included in the show "The Artist's Eye" at the UC Berkeley Art Museum and Film Archive.
Brian Alfred interviewed on the podcast Art Sense.
By Kevin Perry
Pia Fries is included in the exhibition Nord — Süd at Kunst Museum Winterthur
By Kara Cox
By Donald Padgett
Tom LaDuke featured in the March 2022 issue of Whitehot Magazine.
April Gornik interviewed by Alex Zoppa and Robyn Rosenfeld on the podcast ARTLAWS.
Danny Ferrell interviewed in Issue 13 of Maake Magazine.
Roy Dowell's solo exhibition at 511 W 22nd Street reviewed in The Brooklyn Rail.
Charities providing aid - and the fundraisers supporting them
With four L.A. shows, Enrique Martínez Celaya displays the breadth of his artistic range
Emily Eveleth’s doughnuts: Paintings good enough to eat
Enrique Martínez Celaya puts his mark on the Los Angeles map
Enrique Martínez Celaya's solo exhibition "The Rose Garden" is on view through 12 March 2022 at UTA Artist Space.
"Judy Pfaff’s current installation of wall-hung works (on view through February 18, 2022) is aptly titled “opsins,” after the tiny proteins that calibrate color within the eye’s light-sensitive retinas."
Interview: Ryan McGinness on NFTS and the Art World
"Digital art has, up to this moment, relied on materialization and singular playback tools to be appreciated in the market. Not Anymore."
Enrique Martínez Celaya's solo exhibition "SEA SKY LAND: towards a map of everything" is on view through 9 April 2022 at the USC Fisher Museum of Art.
Beverly Fishman's solo exhibition "Recovery" is on view through 7 August 2022 at the MSU Broad Museum.
Kurt Kauper in conversation with Brian Alfred.
NEW YORK, NEW YORK – MILES McENERY GALLERY is delighted to announce representation of Liz Nielsen.
REVIEW: Hans Hofmann’s Chimbote Mural paintings, on view through the 29th of January at Miles McEnery Gallery, clearly articulate Hofmann’s dazzling contribution to the doctrines of Modern Art. Often times, when his name is mentioned in conversation, you might first hear what an important teacher he was, perhaps suggesting his artistic output was not quite equal to his teaching skills. For those individuals, you need to take a trip to 520 West 21st Street, where Hofmann’s true greatness as an artist is in full view.
Liz Nielsen at Over the Influence Los Angeles
"The twenty monumental photograms comprising Liz Nielsen’s show here, “I’d Like to Imagine You’re in a Place Like This,” are like mosaics of liquefied jewels. The artist refers to them as “light paintings,” and her early training in painting and printmaking certainly shines through."
Holiday With The Arts In America’s 10 Largest Cities
Portsmouth, NH—The Museum of New Art-Portsmouth (MONA) is proud to announce its inaugural exhibition, THEREARESPACESTHATBREATHE by Markus Linnenbrink. The exhibition includes a full room site-specific installation inspired by the architectural spaces of the Museum of New Art, sculptures, paintings, works on paper and ceramics. This exhibition will be a survey presentation of the artist’s oeuvre.
Inside Beverly Fishman and Gary Lang’s ‘Zenax’ Exhibition at Library Street Collective
The joint exhibition in downtown Detroit presents new paintings by both artists.
David Huffman's work in included in the exhibition Mothership: Voyage Into Afrofuturism at the Oakland Museum of California.
The Things of Life: Guy Yanai @ Miles McEnery Gallery
On October 21st Guy Yanai opened The Things of Life, his fourth exhibition with Miles McEnery Gallery in New York. Marking an important shift both in his personal life and his artistic practice, this suite of outdoor scenes is continuing onto a body of work presented at his last year's solo show in LA.
NEW YORK, NEW YORK – MILES McENERY GALLERY is delighted to announce representation of Alexander Ross.
Alexander Ross has been exhibiting his paintings and drawings throughout the United States and Europe for over twenty-five years.
Borderlands, an installation featuring Enrique Martínez Celaya, will be an ongoing exhibition on view at The Huntington Library, Art Museum, and Botanical Gardens.
"The Things of Life," An Exhibition by Guy Yanai at Miles McEnery Gallery, New York
Born in Israel, trained in New York, inspired by France, artist Guy Yanai resists labels
How Much Syrup Can a Doughnut Leak?
Emily Eveleth’s paintings of doughnuts are lurid, funny, unsettling, sexy, off-putting, luscious, puffy, bawdy, and excessive.
ARTnews in Brief: Kurt Kauper Is Now Represented by Miles McEnery
Rico Gatson's work Bird, 2015 is included in the exhibition "Black American Portraits" on view at the Los Angeles County Museum of Art through 17 April 2022.
NEW YORK, NEW YORK – MILES McENERY GALLERY is delighted to announce representation of Kurt Kauper.
Kurt Kauper’s figurative paintings have been shown nationally and internationally for more than twenty-five years.
TWO x TWO for AIDS and Art is an annual contemporary art auction held in the Richard Meier-designed Rachofsky House in Dallas, benefiting two organizations—the Dallas Museum of Art and amfAR, The Foundation for AIDS Research.
Thanks to the phenomenal support of the dealer and artist community, corporate sponsors, and Dallas patrons, TWO x TWO for AIDS and Art’s annual benefit gala dinner and art auction has raised over $93 million in its 21-year history in support of amfAR’s AIDS research initiatives and the DMA’s contemporary art acquisition program.
How Berkeley’s Countercultural Movement Shaped Artist David Huffman
Afro Hippie examines Huffman’s time at Berkeley and how it continues to influence him today.
Leslie Wayne interviews Lisa Corinne Davis in BOMB Magazine.
Amy Bennett's painting Delivery, 2019 was acquired by The Museum of Fine Arts, Boston as a promised gift of The American Academy of Arts and Letters.
ARTnews in Brief: Miles McEnery Gallery Now Represents Enrique Martínez Celaya
Miles McEnery Gallery in New York now represents Los Angeles–based artist Enrique Martínez Celaya, who will have his first solo exhibition at the gallery in fall 2022.
NEW YORK, NEW YORK – MILES McENERY GALLERY is delighted to announce representation of Enrique Martínez Celaya.
Enrique Martínez Celaya is a widely celebrated artist, author, and former scientist, who has been actively working for three decades. His multifaceted body of work connects art to literature and poetry, philosophy, and science, all of which are incorporated into his paintings, sculptures, and installations.
The Berkeley Art Museum and Pacific Film Archive is pleased to present "New Time: Art and Feminisms in the 21st Century," a group exhibition featuring Inka Essenhigh and seventy-six artists and collectives.
"The exhibition is organized around eight themes: hysteria; the gaze; revisiting historical subjects through a feminist lens; the fragmented female body; gender fluidity; labor, domesticity, and activism; female anger; and feminist utopias."
The exhibition will remain on view until 30 January 2022.
The right partnership between an artist and a gallery is one that fosters growth and helps to move an artist’s career forward. For many artists, joining a new gallery can often open up different possibilities when it comes to their practice. It also often introduces their work to a wider net of curators and collectors. The relationship between gallery and artist has become all the more crucial as the world slowly begins to open back up after a year and a half of disruption brought on by the ongoing pandemic. Below, we highlight nine artists who made major gallery moves this past summer.
David Ebony’s Top 10 New York City Gallery Highlights
Amy Bennett's mural Heydays (2011-2021) located in the 86 St (R) Station has been expanded with the station's recent construction
Alexandra Goldman sits down with artist Franklin Evans to discuss his two current exhibitions at Miles McEnery Gallery, fugitivemisreadings at 520 West 21st Street, and YOU AGAIN curated by Franklin Evans at 511 West 22nd Street, as well as his current museum show Franklin Evans: franklinsfootpaths at the Figge Art Museum in Davenport, Iowa.
Different but the Same: Guy Yanai’s Multicultural Art
The Israeli artist’s multiple identities merge into a singular style that produces seemingly flat and simple paintings yet evoke serenity and comfort.
What to Do About the Artists in Your Studio
If Philip Guston wanted everyone, including himself, to leave his studio, Franklin Evans seems to be inviting everyone in.
“In nature, light creates the color. In the picture, color creates the light. Perhaps we can all appreciate some light after the dark.” Hans Hoffman
What better way to begin a new journey, a new path and the re-opening of society than with something that illuminates our eyes and our souls? The newest show, LIGHT, has conquered and is shining brightly on the walls of Miles McEnery’s newly renovated thrid Chelsea location.
Patrick Wilson's work The Poetry of Construction is included in the exhibition "Break + Bleed" at the San José Museum of Art, on view through 3 April 2022.
Artist Franklin Evans Amplifies Joy in His Immersive Paintings and Installations
Heather Gwen Martin in conversation with Brian Alfred.
Pia Fries: The Limits of Expressionist Abstraction
"It is important to point out that European artists were able to develop independent ways of working within the general language of expressionist abstraction, whose boundaries, at the time, were seemingly endless and open to nuances of all sorts. In Pia Fries’s case, not only was she influenced by current thinking in abstract art, in the body of work described, she links her work to an extended study of Hendrik Goltzius, the Mannerist painter whose etching of Hercules is an inspiration."
NEW YORK, NY - MILES McENERY GALLERY is pleased to announce results for Christie’s “Fields of Vision: The Private Collection of Artists Wolf Kahn and Emily Mason.” The auction included an online sale that took place from 6 May - 20 May 2021, with a dedicated live sale on 18 May 2021.
NEW YORK, NEW YORK – MILES McENERY GALLERY is delighted to announce its representation of Trudy Benson.
Reminiscent of 1980s computer graphics and early image manipulation programs, Benson’s abstract paintings form a digital language that elicit sensations of nostalgia. What distinguishes Benson’s work from digital image-making techniques of the past is her attention to the experience of seeing and handling the dynamic nature of paint. As an artist, Trudy Benson recognizes the importance of referencing the past while also positioning herself in a place to move and grow beyond the history in which her work developed.
NEW YORK, NEW YORK – MILES McENERY GALLERY is delighted to announce its representation of Danny Ferrell.
Danny Ferrell’s portraits are visions of intimate daydreams representing the artist’s friends and peers. Colorful, gregarious, and with a deep appreciation for beauty, the artist is “humbled by the ineffable cosmic hand that imbues our world with magic.” This is manifested in the artist’s alluring muses, abundant in life and color.
Six Must-See Exhibitions in Chelsea This Summer
designboom spoke with jacob hashimoto about how his upbringing has shaped his creative principles, the loss of materiality and traditional ways of making, and relying on the small things in life.
The untitled sculptures and reliefs in Beverly Fishman’s recent show, “I Dream of Sleep,” hide dark subject matter behind attractive appearances. Silky-looking surfaces and smooth, geometric forms fool the eye with a calm, soothing demeanor. Muted pastel colors add the kind of sleek, impersonal veneer associated with corporate headquarters, modern homes, and other objects of contemporary design denoting easy success and reassuring outcomes.
More than a year after the realities of the COVID-19 pandemic set in and art fairs around the world canceled their plans for the foreseeable future, Chicago’s EXPO fair is holding its 2021 edition online, rescheduled from the fair’s usual in-person time slot in September. This year’s edition, known as EXPO CHGO ONLINE, gathers presentations from more than 80 U.S. and international galleries showcasing both contemporary upstarts and well-known figures working in painting, sculpture, fiber art, and much more.
Ryan McGinness in conversation with Brian Alfred.
EXPO CHGO ONLINE, organised by EXPO CHICAGO, The International Exposition of Contemporary & Modern Art, is a curated digital exposition featuring 81 galleries, running between 8 and 12 April 2021. Ocula Magazine selects six artwork highlights.
The mostly abstract painter Suzanne Caporael’s eighth show at Miles McEnery offers an excellent exposure to her direct, but not simple, nonobjective lyricism, often linked to nature. Her work consists of images and patterns that sometimes lean in the direction of feasible recognition, but, generally, the paintings enact schemes that are delightful in their own right, without being accessible in a realist sense.
6 Historically Undersung Female Artists to Know About Now
As if a series of new shows and Women’s History Month weren’t reasons enough
Artist Emily Mason’s 4,700-Square-Foot Studio Is Just As She Left It.
She painted there for 40 years.
The artist Emily Mason died at age 87 in December 2019, but you can still feel the joyful presence of her work in her bright studio in the Flatiron District. She painted here for 40 years (in the winter months, anyway; from May to October, she worked at her country place in Vermont).
The Tel Aviv-based artist Guy Yanai has been painting scenes from movies during the pandemic, and has chosen five of his favourites here
If Guy Yanai was a member of the Hollywood Foreign Press Association, he would have trouble picking the Best Motion Picture nominees for the Golden Globes. None of his choices would be from 2020, or Hollywood. That said, the contemporary painter is constantly nominating films to canvas, converting vintage footage into his characteristic linear brushstrokes and palette of emerald green, azure, and deep rose pink.
Emily Mason passed away in 2019 at the age of 87. She left behind two daughters, four grandchildren, innumerable adoring friends, and one of the most sustainedly dazzling bodies of work in postwar American painting.
A rare opportunity to compare and contrast the work of two very different painters
"Artists, lovers, life-partners, art-world rivals, benefactors, and luminaries, Emily Mason (1932–2019) and Wolf Kahn (1927–2020) were all of these things—and more. Miles McEnery Gallery has devoted each of its two spaces to the first posthumous solo gallery exhibitions for the couple, who died within months of each other after more than sixty years of marriage. The shows offer a rare opportunity to compare and contrast the work of two very different painters—one abstract and the other figurative—who shared a passion for vibrant color, the bucolic landscapes of Vermont and Italy, and who both aimed in their works for pure, soul-baring expressivity."
"In looking at the canvases of Emily Mason now on view at Miles McEnery, however, we sense not so much a relation to a certain place or thing, but a lifetime of visual experiences put down onto canvas through a keen process of filtering, something like Joan Mitchell’s translation of the gardens of Vétheuil in her soaring panels of the 1970s and ’80s. The result in Mason’s work is necessarily nonspecific yet points nonetheless toward layers of feeling: light reflected off a rippling canal, a gleaming gold surface, flowers in mid-summer."
Miles McEnery Gallery is pleased to announce Peter Luke Colon is joining the gallery as Managing Director beginning in February 2021. Colon will be based in the gallery’s newly expanded third Chelsea location at 511 West 22nd Street.
4 Art Gallery Shows to See Right Now
Jack Pierson’s assembled works; Marsha Pels’s conceptual jewels; Gordon Hookey’s takes on racism; and Emily Mason’s exuberant abstract paintings.
Idiosyncratic Nature: Donald Kuspit on Inka Essenhigh’s Flowers and Patrice Charbonneau’s Shoals
"Essenhigh’s paintings are indebted to, not to say inspired by, traditional art, not only because they make use of classical myth, however much her figures may be transformed into surreal mirages, but because of their meticulous, even exquisite execution, her mastery of sprezzatura, the art that conceals art, and their baroque-like character, not to say their idiosyncratic beauty."
When the Painting Has Really Begun
On the mid-career work of Cecily Brown and Inka Essenhigh.
"Musings on the fate of judgment have been much on my mind since seeing exhibitions by a couple of painters, Inka Essenhigh and Cecily Brown, who in the late 1990s seemed to me without doubt to be among the most promising painters on the New York scene. They recently exhibited their latest efforts in New York, at the Miles McEnery Gallery and the Paula Cooper Gallery, respectively."
Your Concise New York Art Guide for January 2021
Your list of must-see, fun, insightful, and very New York art events this month.
Emily Mason Connects Visitors To Height Of Abstract Expressionism In New Show At Miles McEnery Gallery
With a Room of Her Own, Emily Mason’s Ethereal Abstractions Bloomed
Mason’s expansive Chelsea studio became her tuning fork — the barometer she used to check that colors and shapes were humming at the right frequency.
A Monthly Culture Matrix for the Cosmopolitan Traveler
Arts Intel Report
Emily Mason: Chelsea Paintings
Until February 13
Miles McEnery Gallery - New York - Art
NEW YORK, NEW YORK – MILES McENERY GALLERY is delighted to announce its representation of Douglas Melini.
Douglas Melini is a mixed media artist whose paintings and collages investigate color and space. His hard-edged abstract paintings use color, geometry and pattern to create an eccentric visual experience for the viewer.
By Shannon Lee
This January, Artsy is launching a series of three features to spotlight the trends we’re watching in 2021. The artists here are making works that range from aquatic tapestries and abstracted landscape paintings to lush drawings and vegetal ceramics. Their works are prime examples of what we expect to be a growing trend in 2021.
The Critic's Notebook
On William Barents, paintings by Wolf Kahn & Emily Mason, Franz Schubert & more from the world of culture.
On “Sam Gilliam: Existed Existing” at Pace Gallery, New York, “Martin Puryear” at Matthew Marks Gallery, New York, “Jack Whitten: I Am the Object” at Hauser & Wirth, New York & “Rico Gatson: Ghosts” at Miles McEnery Gallery, New York.
Jennifer Samet sits down with Lisa Corinne Davis.
From Rico Gatson’s mystical investigation of Blackness to Audrey B. Heckler’s prolific collection of Outsider art
By Wallace Ludel and Gabriella Angeleti
Our editors and writers scour the city each week for the most thoughtful, relevant and exciting new exhibitions and artworks on view at galleries, museums and public venues across all five boroughs of New York. This week we recommend:
Miles McEnery Gallery is currently having a group exhibition Sound & Color on view at their 511 West 22nd Street location, and we just couldn't resist its stellar lineup. Curated by Brian Alfred, the host of the renowned Sound & Vision podcast, the exhibition muses with the inseparable connection between the music visual art.
Editors’ Picks: 19 Events for Your Art Calendar This Week, From a Talk With Ruth Asawa’s Children to a Virtual Trip to Manifesta
Here's what to look out for this week.
"Annie Lapin’s paintings are like portals. Step inside, and you find yourself in a disquieting landscape, unfamiliar and yet eerily familiar at the same time. They shimmer with possibilities, almost in a quantum state, to the point that if you look, turn away, and then look again, you could swear that something has moved. In her works, which are basically acrylic on canvas with some mixed media elements, the compositions are discontinuous, so that fragments of landscape are interspersed with passages of pure color and form, so that it’s impossible to categorize the paintings as figurative or abstract."
"Bo Bartlett talks about this week’s cover, inspired by an experience he had in Maine, as well as his new feature film, his family and more."
Mindscapes: Noah Becker Interviews the Cool and Famous Painter Ryan McGinness
"I finally found an opportunity to interview Ryan McGinness, the rather famous New York artist we all know and love. He has a new show called "Mindscapes" featuring 72 paintings on at New York's Miles McEnery Gallery. The exhibition runs from October 15th to November 14th, 2020."
ON VIEW: American Painter Inka Essenhigh’s Surrealist Scenes Offer a Very Enjoyable Distraction From the News—See Them Here
"Escape from the stress of the day with these luscious, fantastical landscapes."
ArtSeen | Beverly Fishman: I Dream of Sleep
For those of my generation, the first scene of Star Wars: A New Hope is embedded in collective memories. The rebel soldiers, soft, fleshy, and clad in pliable fabric, watch a plasma torch cutting through a bulkhead. Seconds later a stream of imperial stormtroopers emerge, their surfaces shiny, plastic, and impermeable, the clean lines of their armor inviting both fear and admiration. The delineation is clear: messy and flexible is good, while there is something sinister about the hard, shiny, or uniform. Beverly Fishman’s I Dream of Sleep, however, embraces this Imperial aesthetic.
"Arts Magazine reviews Beverly Fishman’s exhibition “I Dream of Sleep” at Miles McEnery Gallery. Fishman’s abstract reliefs and sculptural works take a “heady” psychological approach to abstraction – inspired by pharmacology – rather than obsess over “materiality” of paint and surface in the way men have often done in abstraction’s history."
The National Academy of Design will host a virtual induction of fifteen artists, including gallery artist, Beverly Fishman.
The public induction will take place via Zoom on 28 October at 6pm ET.
Chelsea Explodes in Color: Inka Essenhigh exhibits new paintings at Miles McEnery Gallery
"A quick trip through the Chelsea show makes it obvious why Essenhigh’s stock is rising. In these colorful, dreamlike images, one can spot influences ranging from comic books to anime. But this isn’t really pop art nor is it completely surreal. Often there are straightforward representations, but the longer one looks the more one notices something’s just a little off in a way that evokes the psychology of the greatest fairytales."
INTERVIEW: ARTIST BEVERLY FISHMAN
"Abstract, alluring pieces populate her current solo exhibition, I Dream of Sleep, at Miles McEnery Gallery."
"Sleek reliefs, composed of precise shapes in a bright neon palette, appear to float, rather than hang, on the walls of Fishman’s superb new exhibition, I Dream of Sleep, at the Miles McEnery Gallery."
"I sat one afternoon investigating the nuances and overall genius of the magical, elementally filled space on some work created by Ryan McGinness. Gloriously charged with color, twisting and turning with hints of shimmer from metal leaf elements sprinkled like silvery scales flickering. It is like a dream when you are someplace you name home, but you are not there."
"A few developments, however, suggest all is not doom and gloom. One of these is Miles McEnery Gallery’s expansion into a new space on West Twenty-second Street, which it is inaugurating with a group show titled “Do You Think It Needs A Cloud?,” after a quotation by Jane Freilicher, who’s represented here by a very large landscape (sans cloud) from 1968."
Photorealism: An interview with Rod Penner
"Rod Penner (b. 1965), originally from Canada but now based in Texas, is a photorealist painter who specialises in depicting scenes of small town America—the buildings often abandoned and showing the ravages of time—in and around his adopted home state. Author, and leading proponent of photo-realism, Louis K. Meisel, has described Penner as being ''...one of the top two or three artists in the world...''  in terms of his ability to create images that demonstrate a near photographic likeness; the technique and level of skill demonstrated far surpassing that of the first generation of artists from the US who sought to portray quotidian aspects of 20th century American life with increasing levels of objectivity on a two-dimensional surface during the late 1960s and into the 70s.
I’ve long been an admirer of Penner’s work and thought I’d pose a series of questions to him about his development as a painter, the technical challenges encountered when creating his pictures, and his views on and the current state of photorealism. He kindly accepted this offer and I am thankful to him for his time and for being my first interviewee in this series of conversations with leading realist artists."
Back to the Future: The Building as Artifact in Daniel Rich's Newest Work
"During this time when office buildings and stadiums, places constructed and designed beholden to capitalism or sport, fall victim to 2020’s Rich’s most recent body of work may be his most sublime and urgent to date."
Join the Moss Arts Center on Thursday, 17 September at 6p.m. as artist Jason Middlebrook takes us through the creative process behind Another World. Moderated by Margo Crutchfield, Curator at Large. Approximately 45 minutes. Pre-registration required, moderated Q&A.
"Artist Rico Gatson (Instagram: @rico_gatson) joins us for New Social Environment #119, hosted by painter and Rail Editor-at-Large Tom McGlynn (Instagram: @tom_mcglynn), for a discussion on Gatson's work, subjective abstraction, transcendental jazz, the use of geometry, rhythm, color, among other subversive political and social underpinnings, and so on leading to his upcoming show of paintings Miles McEnery Gallery (opening November 19th, 2020). Poet Don Yorty (Instagram: @donyorty) closes the event with a reading from his poetry postcards."
Tomory Dodge was born in Denver, Colorado in 1972. He received a Bachelor of Fine Arts from the Rhode Island School of Design in 1998 and a Master of Fine Arts from the California Institute of the Arts,Valencia, CA in 2004.
MILES McENERY GALLERY is pleased to announce gallery expansion and fall program.
Why are so many artists drawn to Maine?
"As the state marks its bicentennial, creative thinkers look to crashing waves, craggy mountains, and colorful seasons for inspiration."
Warren Isensee’s Breakthrough
"Isensee has gone from being a dutiful geometric abstractionist to defining his own trajectory, and gaining a verifiable freedom for himself."
Figurative and Abstract Paintings Brighten NY Galleries
"After being idled for several months during the initial outbreak of the pandemic in New York, the city’s galleries, which are usually closed or merely offering group shows in the month of August, have a fine selection of one-person presentations taking place. With the dwindling likelihood of art fairs coming back to the Big Apple anytime too soon and the city’s museums still under lockdown, its galleries offer the best place to physically see art.
In this round-up of five standout solo shows, we discover three young female figurative painters—Grace Weaver, Rute Merk, and Sojourner Truth Parsons—that every art lover should have on their radar and two seasoned abstractionists—KATSU and Warren Isensee—working in solely original styles."
17 Contemporary Artists Reimagining the Still Life
"The things we own—the clothes we wear, the objects on our tables, the furniture in our homes—tell stories about who we are, what we value, and where we come from. Artists who make still lifes create suggestive worlds, placing clues about their lives and their often invented, absent characters into their compositions.
The 17 contemporary artists below explore the material world through abstract painting, performance, craft, and digital media. As they capture objects ranging from bodega sandwiches to artist monographs, they document what it’s like to live, consume, and simply make art today."
Four Art Gallery Shows to See Right Now: Warren Isensee
Over the past two or three years,Warren Isensee’s abstract paintings, while always good, have taken a sharp turn for the better. For nearly a decade Mr. Isensee, who has been exhibiting since 1998, cultivated a distinctive geometry of parallel lines whose softened edges and pulsing color contrasts conjured the tubular glow of neon, compartmentalizing them into squares and rectangles with black outlines.
NEW YORK, NEW YORK – MILES McENERY GALLERY is delighted to announce its representation of Rico Gatson.
Rico Gatson is a Brooklyn based mixed media artist working across abstraction and figuration. With a multifaceted practice that spans painting, video, sculpture and installation, Gatson considers himself an object-maker inspired by Conceptualism, Afro-Futurism and spirituality.
ARTnews in Brief: Miles McEnery Now Represents Rico Gatson—and More
Mixed media artist Rico Gatson has joined the New York–based Miles McEnery Gallery, where he will have a solo exhibition opening November 19.
We are pleased to congratulate our friends at Vielmetter Los Angeles on their 20th Year Anniversary.
"Vielmetter Los Angeles is pleased to present a group exhibition on their 20th Year Anniversary.
Featuring works by Laura Aguilar, Nick Aguayo, Edgar Arceneaux, Math Bass, Whitney Bedford, Andrea Bowers, Sarah Cain, Patty Chang, Kim Dingle, Sean Duffy, Genevieve Gaignard, Liz Glynn, Karl Haendel, Stanya Kahn, Hayv Kahraman, Raffi Kalenderian, Mary Kelly, Dave McKenzie, Rodney McMillian, Shana Lutker, Wangechi Mutu, Ruben Ochoa, Pope.L, Deborah Roberts, Steve Roden, Arlene Shechet, John Sonsini, Amy Sillman, Stephanie Schneider, Monique Van Genderen, Tam Van Tran, Esther Pearl Watson, Patrick Wilson."
Surrealism Reloaded. Images from the Subconscious
Sometimes all you need is a sunrise and a piece of moss: Inka Essenhigh’s works are populated by mythological creatures. While painting, she relies entirely on her inner self.
Phillip Allen's Astonishing Achievement
"I have come to think of Phillip Allen as one of the most wonderfully challenging painters around."
Building a New Sanctuary on Long Island for Culture Lovers
In Sag Harbor, April Gornik and Eric Fischl are converting a former church into a community arts center.
The Enigmatic Beauty of Painting: A conversation with Isca Greenfield-Sanders
"On the occasion of her new exhibition Shade My Eyes, I spoke to Isca Greenfield-Sanders about her newest body of work which will be on view at Miles McEnery Gallery from 21 May until 11 July 2020. The delicately balanced paintings depict scenes that feel reminiscent of childhood memory. They are distant yet quietly composed, serene and tranquil. We spoke together about her process and upbringing for eazel magazine."
Guy Yanai checked into a Club Med in the French Alps, and quickly discovered it was not what he expected. The hotel was an outdated ski lodge without any snow. “It was this horrible vacation,” the fortysomething artist said of his family trip there, a few years back. Still, he wanted to paint the drab resort—maybe so he could get a do-over of his vacation, this time in colorful and glorious surroundings.
On April 8, 2020, the Board of Trustees of the John Simon Guggenheim Memorial Foundation announced the awarding of Guggenheim Fellowships, including artist Suzanne Caporael.
He played with color, creating scenes both calming and arresting. He said he wanted his colors “to be surprising to people without being offensive.”
The American Academy of Arts and Letters announced today the ten artists who will receive its 2020 Awards in Art, including Amy Bennett and David Huffman.
Wolf Kahn, celebrated painter of resplendent landscapes, dies at 92.
It is with profound sadness that we announce the passing of Wolf Kahn.
We are delighted to share two additional reviews of April Gornik's current solo exhibition in Painters on Painting and Chelsea News.
April Gornik’s Sunset, 2018—one among the twelve new landscape paintings in her current exhibition at Miles McEnery Gallery—appears as though it might be plugged into an electrical socket. Along the horizon, halfway between a malevolent sky and an inky sea, a stripe of brilliant incandescence worthy of Vermeer lights up storm clouds, choppy waters, and, one would imagine, the entire gallery if it were darkened. Symbolism, Romanticism, Luminism, and feminism have all been cited in regard to Gornik’s work. Indeed, her reimagined versions of natural phenomena are as rich a field for interpretation as the writings of Herman Melville or Ralph Waldo Emerson.
Platform presents group exhibition "Walk the Line"
20 March - 18 April 2020
Paintings, sculptures, video, photographs, and works on paper by 28 contemporary artists will be exhibited in the galleries of the American Academy of Arts and Letters on historic Audubon Terrace (Broadway between 155 and 156 Streets) from Thursday, March 5 through Sunday, April 5, 2020. Exhibiting artists were chosen from over 150 nominees submitted by the members of the Academy, America’s most prestigious honorary society of architects, artists, composers, and writers. The recipients of the Academy’s 2020 Art and Purchase Awards will be selected from this exhibition.
Christie's features John Sonsini as one of the top 10 American post-war and contemporary artists to have in your collection.
A selection of artists whose burgeoning art-world profiles are matched by their rising markets — featuring works offered in our Post-War to Present auction in New York.
Years ago, when artist John Sonsini began approaching Spanish-speaking day laborers in Los Angeles to ask if he could paint their portraits, he had some communication problems. "My Spanish was so poor," Sonsini admits.
First, he was introducing himself as an artista, a word that many Spanish speakers associate with a singer or dancer. But when he switched to pintor that didn't necessarily clear up the confusion — the men thought this professorial-looking, Italian-American with a salt-and-pepper beard was offering them a job painting houses.
Interior Design features Beverly Fishman's work in the Miles McEnery Gallery Booth at ZONAMACO as a highlight of the fair.
Exhibitors from 26 countries participated in the 2020 edition of ZONAMACO—Latin America’s leading art platform—in Mexico City, from February 5-6. This year, spatial design studio Tom Postma Design from the Netherlands and Mexican architecture, interior, and graphic design firm Salinas Lasheras were in charge of creating the restaurants and lounge areas.
Known as a consummate colorist in her brilliantly hued painterly abstractions, Emily Mason died on December 10, 2019, age 87, at her home in Vermont after a prolonged battle with cancer. December 10 is the birthday of her favorite poet, Emily Dickinson, and Mason regarded each of her paintings as a visual poem, aiming for the expressive, and—dare I say—spiritual quality that she found in Dickinson’s verse. Mason, however, would never admit such lofty ambitions for her art. Although her artistic ambition was obvious to me and to others around her, in the passion for painting that she exuded, and the monumental body of work she produced, Mason always maintained a consistently sincere degree of modesty—sometimes bordering on unwarranted self-effacement—about her goals and achievements.
Emily Mason, Who Created Colorful Canvases, Is Dead at 87.
Part of a family of artists, she was known for creating abstract works by a process she liked to call “letting a painting talk to you.”
For more than 50 years, Emily Mason, an abstract painter in a family of painters, would spend winters in Manhattan, where she had a studio in the Flatiron district, and the warmer months in Brattleboro, Vt., where she and her husband, the painter Wolf Kahn, also had a home.
I think John Sonsini may be the greatest portrait painter in the country.
That’s because his pictures of working-class men capture essential aspects of their individuality while revealing essential things about the world in which we live.
Sonsini’s portraits raise profound questions about identity — race, class, sexuality — while laying bare the cultural, economic and political underpinnings of the ways we see ourselves, especially as those visions take shape in relationship to others: people with different backgrounds, different upbringings, different dreams.
As part of the Murals of La Jolla Project, Monique van Genderen's mural, titled Paintings Are People Too, is currently up at 7661 Girard Ave, La Jolla, California.
Paintings Are People Too, by Monique van Genderen, is a reconsideration of humanity, of what it means to be human in the social climate of today. By utilizing her vertical paintings as stand-ins for people, van Genderen reflects on some of the pressing issues facing our citizenry, the de-humanizing effects of new communication technologies, and the physical displacements happening in urban centers.
Mural brings civil rights inspiration to CityPlace’s social setting
"WEST PALM BEACH — Artist Rico Gatson is bringing the legacy of civil rights leader Martin Luther King Jr. to downtown West Palm Beach’s CityPlace, with a series of multi-colored triangles in progress called Mountain Top, on the center’s Gardenia Garage, harkening to the assassinated reverend’s final speech."
NEW YORK – MILES MCENERY GALLERY is delighted to announce its representation of Pia Fries.
Pia Fries reinterprets abstraction by sensationally combining a variety of textures and pigments to create striking and multidimensional gestural compositions. The Swiss-born painter initially studied sculpture in Lucerne, Switzerland, prior to becoming a student of Gerhard Richter at the Kunstakademie Düsseldorf in Germany. The artist’s background in sculpture is evident in her practice throughout her wide-ranging body of paintings. Working with a sophisticated assortment of mediums, Fries alters the way in which the materials interact on the canvas. Her unique ability to transform pictorial space is conveyed through the textured and intricately layered elements of her paintings. By layering copious amounts of oil paint on top of transferred images and geometric patterns, Fries produces an intensely visual sense of movement for the viewer to follow.
Nino Mier Gallery presents group exhibition "TO PAINT IS TO LOVE AGAIN."
Curated by Olivier Zahm
January 18–28, 2020
The inaugural edition was a surprisingly big success. As year two kicks off, here's what to look for.
Last year, the fledgling new art fair Taipei Dangdai: Art & Ideas made mincemeat of the commonly held belief that it takes a fair a few years to build a solid art world following. The inaugural edition turned out big-name blue-chip galleries, famed global collectors (and Chinese movie stars), and, most importantly, robust sales. Oh, and yes, the fair even had its very own giant inflatable KAWS sculpture to draw in the crowds.
We look forward to presenting ten new paintings by Ryan McGinness at the 2020 edition of Taipei Dangdai, running 16 through 19 January in Taiwan.
Ambitiously composed and relentlessly innovative, McGinness's "Taipei Dangdai" paintings seek to explore and evoke the culture and history of Taiwan.
Vielmetter Los Angeles is pleased to present the gallery’s first exhibition with Los Angeles based portrait painter John Sonsini. Comprised of full-length figures, bust portraits, and still lifes, the exhibition, Cowboy Stories & New Paintings, centers on the theme of cowboys living in Mid City Los Angeles. Emblematic of Sonsini's 50 yearlong practice, his all-male portraits oscillate between the intimacy of depicting a specific person's likeness and more generally addressing broad issues of gender mythology. In “Francisco”, we see the sitter exchanging his street clothes for the western clothing he's unpacked from a suitcase, thus witnessing the transition from the everyday to the performative.
Markus Linnenbrink’s paintings are described as both performative and extreme. Linnenbrink pours and pools resin with cumulative layers of opaque and translucent pigments, building the dramatic physicality of his objects. Using a medium with short-lived malleability, his early epoxy paintings relied on the interplay between liquidity and gravitational pull; while later surface derivations were devised with mechanical assistance, forming concentric depressions, then incised channels. Linnenbrink’s creative vocabulary was described by David Pagel, art critic for the Los Angeles Times, in an essay, Gestural Abstraction in the Information Age: “Linnenbrink paints himself out of the picture. His paintings fly in the face of the idea that art is all about self-expression… Hands-off detachment, unsentimental experimentation, and quasi-scientific exploration play potent roles in his complex compositions, whose surfaces take painting to extremes, both sculpturally and coloristically.”
On view at the University of Connecticut’s Contemporary Art Galleries through November 29 is “Constructed,” a lively exhibition of seventeen works by five distinguished midcareer painters whose handling of color—as a kind of visual armature—is inseparable from structure. The show’s curator, Museum Director Barry Rosenberg, calls on Beverly Fishman, Marilyn Lerner, Paul Pagk, Joanna Pousette-Dart and Cary Smith for evidence that, in a rising challenge to the current fashion for figurative painting, “a counterrevolution featuring new tactics of abstraction is bubbling to the surface.”
A few years ago, after a Tina Dickey lecture on the German-born American abstract painter Hans Hofmann (1880-1966), an audience member said: “I understand the ‘push,’ but I don’t understand the ‘pull.’” He was referring to Hofmann’s oft-quoted statement about the nature and dynamics of pictorial space in painting. Hofmann—who was not only a renowned painter but also the influential teacher of some of America’s most celebrated midcentury artists—coined the term “push and pull,” which he also referred to as “movement and countermovement” and “plasticity.”
Shulamit Nazarian is pleased to present Strange Little Beast, a solo exhibition of new works by Los Angeles-based painter Annie Lapin. This will be the artist’s first solo exhibition with the gallery.
Annie Lapin’s paintings call attention to the human desire for meaning making–our effort to create order out of chaos. In Strange Little Beast, Lapin’s paintings use her interest in art history, perception, and the materiality of painting itself to examine the role of digital technology and narrative building in our contemporary moment.
Erin Lawlor was born in Epping, UK in 1969. Lawlor lived in France from 1987 to 2013, and holds a BA in History of Art and Archaeology from the University of Paris IV – la Sorbonne (1992). She currently lives and works in London. Lawlor has exhibited extensively internationally over the last twenty years; recent exhibitions of note include a presentation at the Ny Carlsberg Glyptotek Museum, ‘Maleri:nu (Paint:now)’, in Copenhagen in 2016; a substantial solo exhibition at the Mark Rothko Art Centre in Latvia in 2017; as well as recent solo exhibitions at Rod Barton, Brussels (2016), Espacio Valverde, Madrid (2018), Fifi Projects, Mexico (2018), Fox/Jensen Gallery, Australia (2018), and Miles McEnery Gallery, New York (2019). She was one of three painters showcased in the Space K exhibition ‘British Painting 2019’ in Seoul, South Korea, this summer. Lawlor is currently preparing for a solo exhibition at Fox/Jensen/McCrory Gallery in Auckland, NZ, for next spring. She and her work will also be featured in the book ‘Free Spirits’ by Rosie Osborne, to be published next week.
Inka Essenhigh’s painted visions are richly colored distorted fables peopled with archetypes, sprites, and anthropomorphized nature. The paintings breathe and undulate with life as ocean becomes sea monster, tree becomes goddess, or hipster bar-goers become drunken ghouls. The imagery is imbued with a sense of a collective unconscious and mischievous narrative that makes its way into each landscape, building, and figure. As she describes it, her mythologies strive for “the feeling of an inner vision” captured during the witching twilight hours.
Raffi Kalenderian is featured as one of 11 finalists in Galerie Magazine's Emerging Artists Award Issue.
By depicting people from his everyday life in almost “claustrophobic” environments, Raffi Kalenderian creates a tension between intimacy and formality, depth and on-the-surface aloofness that’s hard to turn away from.
Contemporary Art Galleries at the University of Connecticut is pleased to present a group exhibition featuring works by Beverly Fishman, Marilyn Lerner, Paul Pagk, Joanna Pousette-Dart, and Cary Smith.
A Panel Discussion will take place on 17 October at 5:00pm, followed by an Opening Reception at 6:30pm.
Though his work takes him all over the world, Tel Aviv-based painter Guy Yanai’s graphic style is heavily influenced by the white-walled Bauhaus buildings and distinctive light of his hometown. Yanai tells Culture Trip why he finds the city so inspiring, and why he believes the food scene is the best in the world.
Every fall the art season begins—and to mark its beginning, galleries and museums put their best feet forward, starting off the season with exhibitions that showcase their very best. Here we look at works by 7 artists who are season openers this year. See their shows on view, and collect these investment pieces by these talk-of-the-town, blue-chip artists!
Philip Slein Gallery is pleased to present the group exhibition "Stars," featuring works by Alison Hall, Warren Isensee, Douglas Melini, Carl Ostendarp, and Barbara Takenaga.
An opening reception will take place on 13 September from 5-8:00pm.
NEW YORK – MILES MCENERY GALLERY is pleased announce its representation of Roy Dowell.
Roy Dowell creates stories to both provoke and seduce the viewer with his use of color, pattern, folk motifs, and design elements. He has created a primarily abstract visual vocabulary in which he imbues these formal elements with symbolic meaning.
Utilizing a broad array of influences, Dowell creates a familiar—but not easily named—world of signs, symbols, tools, objects, and places. He engages and challenges the viewer to decode and decipher his work and to find and locate themselves in it. Dowell’s acrylic on linen paintings are graphically bold. They are painted with invention and with a thoughtful awareness of the many histories of the applied and decorative arts.
NEW YORK – MILES McENERY GALLERY is pleased to announce its representation of Raffi Kalenderian.
Raffi Kalenderian is a figurative painter based in Los Angeles, CA. Primarily known for portraiture, Kalenderian paints compelling portraits whose dynamic backgrounds merit as much attention as their subjects. Explosions of color and pattern in the form of carpets, wall coverings, and tapestries surround his sitters, whose facial expressions and bodily comportments offer an intimate look into their unique personalities. Working both from photographs and from life, Kalenderian discovers opportunities for distortion and abstraction.
Peering into scenes painted on tiny panels, some barely larger than a note card, the viewer observes the intimacy and isolation of Amy Bennett’s one-inch high figures. Their fictional lives, set in richly colored and seemingly idyllic suburban neighborhoods and homes flooded with morning light, are disturbed by marital discontent and parental ambivalence. Family members often inhabit the same rooms, but absorbed in laptops or yoga routines, they never interact; mothers, attentive to their children’s needs, struggle to dress or sleep while infants are latched to their breasts, echoing psychosocial theorist Lisa Baraitser’s claim that the maternal care is “an ethics of interruption.”
Philip Martin Gallery is pleased to announce an exhibition of new paintings by Tomory Dodge. There will be a reception for the artist Saturday, September 7 from 6-8pm.
"The light touch is often the strongest gesture of all" - Helen Frankenthaler, 1962
Vielmetter Los Angeles is pleased to present The Light Touch, an exhibition featuring a selection of artists working across numerous modes of abstract painting. The exhibition uses Frankenthaler’s quote as an organizing principle–the artists, though varied in their approaches, share an interest in the play of light and spirit of pleasure through color and gesture.
Inspired by life in the Hudson Valley town of Cold Spring, painter Amy Bennett’s series “Nuclear Family” distills scenes of everyday life into uncanny snapshots of domesticity.
Currently on view at Miles McEnery Gallery through Aug. 16, the works presented in the exhibition explore themes of family on small, finely detailed canvases that wrap around the gallery walls like tiny windows. The paintings, replete with interior rooms and suburban landscapes, capture with serene clarity the quiet, quotidian elements that otherwise drift by throughout the course of the day.
Erin Lawlor’s paintings, on view at Miles McEnery Gallery through August 16, have a sense of the familiar. Wide brush strokes play off one another, conjuring winding ribbons, rendered systematically like blood flowing to and from the heart — an ebb and flow of the most critical kind. At first glance, the deep rich color drew me in, then the scale, then the whimsy that radiates from the wide, curvy mark-making. But then, as I moved through the gallery with more focus, Lawlor’s paintings evoked a sense of observing the art of an earlier time: the natural integration of motion, body, and presence.
An inaugural solo exhibition of the work of London-based artist Erin Lawlor presents a selection of vivid paintings spanning 2017 – 2019 and evinces advancements in the artist’s trademark brushwork, color usage, and compositional formats. The works in this series build upon painting explorations consisting of a loopy, curvilinear patchwork that produces heightened subtleties between foreground, middle-ground, and background. Constructed from a multitude of axial planes that fully exploit levels of push-pull between the nip, tuck, and fold of her envisioned spaces, Lawlor’s dynamic imagery elicits an impeded desire to peel back layers of curvature that seem to go on interminably.
David Allan Peters creates work that explodes with countless layers of color and intricate texture, combining painting with sculptural hand-carved qualities. Diamonds, grids and circles create kaleidoscopic compositions that vibrantly explore geometry, intuition and chance. He has become known for his innovative process of building up material which is then peeled and cut away exposing what is below the initial surface, unveiling various colors at different depths. Peters sometimes works for 15 years on a single painting, painstakingly applying layer upon layer of acrylic paint and then cutting, scraping, sanding and carving into the layers to show the passage of time similar to the rings of a tree trunk. From the by-products of his paintings, Peters recycles the carved-out remnants into bricks forming minimalist installations. He pushes the limits of acrylic paint and the traditional painting processes, while dissolving the boundary between the second and third dimension.
Shortly after my review of Amy Bennett’s exhibition at Miles McEnery Gallery appeared on the Hyperallergic Weekend, I got an email from Mollye Miller, who, I later learned, is a photographer and poet living in Baltimore. In fact, she and I were published in the same little magazine, Prelude, edited by Stu Watson, but not in the same issue. But all of what I know of her came after I read her email.
For more than a decade, Amy Bennett has been building a loyal following for her highly detailed views of a fictional world that resembles our own. She is an observational painter who works from models that she painstakingly constructs. For one group of paintings, Bennett transformed an 8-foot-square of Styrofoam into a lush green landscape that contained more than 450 buildings set within rolling hills and valleys, complete with streams and lakes. Each of the buildings was designed, built, and painted by the artist, who then depicted this self-contained world from different angles, often from a bird’s eye view. Tending to working on a small scale, she made paintings that remained true to the miniaturized perfection of her artificial, slightly askew world. All sorts of tensions arose.
While in town for the opening of her solo exhibition at Miles McEnery Gallery, Erin Lawlor stopped in for a chat with Brian Alfred on his podcast "Sound & Vision." During this episode, Erin talks about beating Brexit, process and painting, writing vs. painting, seeing David Bowie live, and much more.
I am interested in intersections between technology and architecture, and the impact of communications media on society, culture, and historical events. I explore these intersections through contexts such as WikiLeaks, Edward Snowden, instances of hacking, digital warfare, software glitches at Nasdaq, the role of social media in recent revolutions and wars in the Middle East, and the fragility of the systems on which we depend.
There have always been multiple entry points for viewers to come to terms with John Sonsini’s bravura portraits of single or multiple male subjects, most of whom are Mexican day laborers, and “the age of Trump” has unexpectedly provided us with yet another. We as a people have never in living memory been forced to listen to the occupant of the White House vilify Hispanic migrants and asylum seekers with the excessive slander and bitterness as its current occupant, and for millions of Americans, such rhetorical excess has prompted its own collective soul-searching.
The Clemente Soto Velez LES gallery is proud to present the exhibition Parameters, curated by Daniel Rosenbaum, June 28 through Aug 2, 2019.
An opening reception, free and open to the public takes place June 28, 2019, 7-10pm.
This month, eleven paintings by David Allan Peters are on view in New York at Miles McEnery Gallery. The category of “painting” however, seems too restrictive for this unique process. Though each is technically made of paint, the mesmerizing visual effect is achieved by carving thousands of gouges into the thick surface that reveals an explosion of color layers.
As US federal criminal charges are filed against Rochester Drug Cooperative – the first such case involving a drug distributor and its executives – and the Sackler family come under intense scrutiny for their role in the country’s opioid crisis, ‘Future Perfect’, Beverly Fishman’s solo show at Kavi Gupta, rings with the clarity of those indictments. Spanning the artist’s work from the late 1990s to the early 2010s, the show harnesses the power of marketing – the very same power which the Sacklers have been accused of abusing – to critique the insidious appeal of modern pills.
NEW YORK – MILES MCENERY GALLERY is pleased to announce its representation of Daniel Rich.
Painting man made edifices and urban landscapes, Daniel Rich uses geometric patterns and vibrant color to invest the picture with a bigger capital of invisibly political intentions. With a background in graffiti art, skateboarding and influenced by his growing up in Germany, Rich shares his unique perspective of the built environment and invites viewers to question their own. Rich paints from photographs, tracing and scoring each line with a blade before painting in the shapes. The effect is an overwhelming precision of line and perspective that appears at once tactile and flat.
NEW YORK – MILES McENERY GALLERY is pleased to announce its representation of Warren Isensee.
Warren Isensee’s Geometric Abstractionist paintings celebrate a precision of line and juxtaposition of color. Isensee paints every line freehand, inserting his personal touch into hard-edge paintings. At first glance, the paintings lack any sign of his hand, but with a closer look, imperfect edges reveal themselves and breathe life into his compositions.
Carefully defined expanses of color and precisely calculated lines—the characteristic elements of geometric abstractions are often defined as rational, measured, and simple. Indeed, one can describe these artworks with a common vocabulary of shapes, colors, and sizes. Their meaning, however, is rarely so singular or straightforward. As painter Jo Baer noted, the challenge in making such work is to create “poetic objects” that are “discrete yet coherent, legible yet dense.” She called these efforts “double-dealing, double-edged.”
Artists April Gornik and Eric Fischl team up with architect Lee Skolnick to create an incubator for artists in Sag Harbor.
Artist Eric Fischl is standing under the eaves of Sag Harbor’s deconsecrated First Methodist Church, currently a construction site he visits almost daily. More than a year ago, Fischl and his wife, artist April Gornik, purchased the building to return it to its original intent as a community gathering place.
It was a crisp early autumn day that I drove to Judy Pfaff’s home and studios near Tivoli. She lives and works in a series of barns and outbuildings that still have the rough-and-tumble sense of a working fam, with areas that have the cool geometric feel of a setting for contemporary art. Upon hearing me near the door, two big dogs barked and wagged their tails at the same time, jumping all over me once the door opened. At seventy-two, Judy has the air of a woman at least fifteen years younger, and I’m immediately put at easy while she yells orders to her dogs but laughs as they continue to lurch toward me.
Victor Cassidy interviews Jacob Hashimoto for Sculpture Magazine.
Curated by Massimiliano Gioni and Natalie Bell in partnership with the New Museum, New York and based on the exhibition The Restless Earth, which was shown at the Triennale in Milan in 2017, this exhibition will present historical and contemporary works by 75 artists—from the United States as well as Algeria, Bangladesh, Belgium, Brazil, Egypt, Ghana, Iraq, Lebanon, Mexico, Morocco, Syria, Turkey, UK, Vietnam, and more—whose work poses urgent questions around the experiences and perceptions of migration and the current global refugee crisis.
Max Estrella is pleased to present Markus Linnenbrink’s (Dortmund, 1961) most recent work under the title WHOLEWIDEWORLDWONDERFUL. This is his third exhibition at the gallery, and serves to reinforce his interest in the use of color as a code to build a narrative. Pieces from Linnenbrink’s three series, that is, Drips, Drills, and Cuts, are part of this proposal for Madrid’s audience.
KOTARO NUKAGA is pleased to present FIXED CONTAINED, a group exhibition of seven international contemporary artists: Brian Alfred, Firelei Báez, Inka Essenhigh, Nir Hod, Tony Matelli, Tomokazu Matsuyama, and Carlos Rolón. This exhibition is guest curated by Matsuyama, and will be on view from April 20, 2019 through June 29, 2019
Min adapts the vibrant abstract imagery of her paintings on canvas to the steps of the Hammer’s lobby staircase, in the first Hammer Project to be oriented on the floor rather than the walls.
Featuring works by gallery artists Inka Essenhigh, April Gornik, Amy Bennett, and Isca Greenfield-Sanders, new book Landscape Painting Now: From Pop Abstraction to New Romanticism presents a global survey of landscape painting in the 21st century. Including work by more than 80 outstanding artists, the book highlights the thriving genre of landscape painting in the contemporary world, while also reflecting upon its origins.
“Nuclear Family,” an exhibit of new work by Amy Bennett on view at the Brattleboro Museum & Art Center (BMAC) through June 16, features small paintings that tackle large topics, including marriage, child rearing, and female identity.
In 1963, Hans Hofmann, age eighty-three, arranged to give forty-five paintings and a very substantial sum of money to the University of California at Berkeley. The funds were intended to help build a new museum on campus where the donated works could be exhibited. It was the fulfillment of the legendary teacher and painter’s long-held desire to have an institution care for a substantial group of his best works, and the culmination of an even longer connection with Berkeley’s art department and many of its faculty. That connection began in 1930, when Worth Ryder, an instructor at Berkeley who had studied at Hofmann’s progressive Schule für Bildende Kunst (School of Fine Art) in Munich, invited his former teacher to lead a summer art course at the California university—a very attractive alternative to the rigors of Germany at the time, despite the growing fame of the Munich school.
In 1903, Hans Hofmann (1880 - 1966) moved from Munich to Paris where he saw the influential Paul Cézanne retrospective at the Salon d'Automne in 1907, worked with Henri Matisse, and became friends with George Braque, Robert and Sonia Delaunay and Pablo Picasso, eventually fusing Fauvism and Cubism to new effect, and later adding Wassily Kandinsky to the influential mix. Though he was present at the birth of abstract painting in the early twentieth century, he was not one of its midwives, but rather a synthesizer of their ideas, opening what is generally regarded as the first school of modern art in 1915. He settled in the United States in 1932 and finally found his own artistic voice.
Judy Pfaff’s recent show featured five major wall reliefs (all 2018) that resemble discrete exhibitions unto themselves. The series is titled “Quartet,” with works numbered one though four and a fifth designated Quartet + 1. Demonstrating the artist’s distinctive merger of painting and sculpture, these assemblages—which average some ten by fourteen feet and bear elements that extend up to five feet into the gallery space—feature rhythmical arrangements of found objects and items made by Pfaff against backgrounds of digitally abstracted photographic imagery mounted on fiberboard panels. Conflict between technology and the environment, artifice and nature, seems to be a theme of the works, which combine melted plastic buckets and pictures of flowers, wire fencing and biomorphic forms, geometric patterns and expressive painterly gestures.
Each week, artists, art historians and authors join host Tyler Green to discuss their work on The Modern Arts Notes Podcast
Episode No. 382 of The Modern Art Notes Podcast features artist Allen Ruppersberg in the first segment and curator Lucinda Barnes in the second segment discussing “Hans Hofmann: The Nature of Abstraction," currently on view at BAMPFA through 21 July 2019.
The Katonah Museum of Art is pleased to present:
LandEscape: New Visions of the Landscape from the Early 20th and 21st Centuries
On view 17 March through 16 June, the group exhibition features works by American Modernists Marsden Hartley, John Marin, Alfred Maurer, Helen Torr and Marguerite Zorach alongside contemporary artists April Gornik, Judy Pfaff, Jo Baer, Lois Dodd, Shara Hughes, and Alex Katz.
NEW YORK, March 18, 2019—The American Academy of Arts and Letters announced today the nine artists who will receive its 2019 awards in art. The awards will be presented in New York City in May at the Academy’s annual Ceremonial. The art prizes and purchases, totaling over $250,000, honor both established and emerging artists. The award winners were chosen from a group of 32 artists who had been invited to participate in the Invitational Exhibition of Visual Arts, which opened on March 5, 2019. The exhibition continues through April 7, 2019, and features over 100 paintings, sculptures, installations, videos, and works on paper. The members of this year’s award committee were: Judy Pfaff (chairman), Lois Dodd, Rackstraw Downes, Yvonne Jacquette, Bill Jensen, Catherine Murphy, Philip Pearlstein, and Dorothea Rockburne.
The Bertha and Karl Leubsdorf Gallery at Hunter College is pleased to present:
Hans Hofmann: "The California Exhibitions, 1931"
28 February – 5 May 2019
The UC Berkeley Art Museum and Pacific Film Archive is pleased to present:
Hans Hofmann: The Nature of Abstraction
27 February – 21 July 2019
Nassau County Museum of Art is pleased to present group exhibition That 80s Show, curated by Eric Fischl.
Opening Saturday, 16 March, 2019.
Featuring works by Fischl, April Gornik, Julian Schnabel, David Salle, Ross Bleckner, Bryan Hunt, Jean-Michel Basquiat, Keith Haring, Kenny Scharf, Cindy Sherman, Robert Longo, Jenny Holzer, Robert Mapplethorpe, Annette Lemieux, Charlie Clough, Tseng Kwong Chi, Jonathan Lasker and others.
Directed by Bo Bartlett and Jesse Brass, over the course of more than 15 years, Andrew Wyeth created 250 secret paintings. He hid them from everyone—including his wife, who was also his business manager—in the loft of a millhouse near his home in rural Pennsylvania. When they were discovered, in 1986, they generated a media frenzy that extended well beyond the art world. The Helga paintings, as they came to be called, all depicted a single subject: Helga Testorf.
ARTnews sat down with Judy Pfaff during the installation of her current solo exhibition at Miles McEnery Gallery to discuss breaking boundaries in her career, life as a female artist in the 1970s, and eluding categorization in her work.
On view at 520 West 21st Street through 9 March, Miles McEnery Gallery is also presenting a solo booth of Judy Pfaff's work at ADAA's The Art Show from February 28 to March 3, at Park Avenue Armory.
Atlanta – South Arts, the nonprofit arts service organization advancing Southern vitality through the arts, has named nine visual artists to receive State Fellowship awards of $5,000 each. These nine artists are now in consideration for the Southern Prize, which includes an additional $25,000 cash award and a two-week residency at the Hambidge Center for the Creative Arts and Sciences. All nine State Fellows will be featured in an exhibit at the 701 Center for Contemporary Art in Columbia, South Carolina, from March 21 – May 5, 2019. The winner of the Southern Prize and a $10,000 Finalist award will be announced at a ceremony celebrating the State Fellows on April 15 at 701 CCA.
NEW YORK, February 4, 2019—Paintings, sculptures, video, photographs, and works on paper by 32 contemporary artists will be exhibited in the galleries of the American Academy of Arts and Letters on historic Audubon Terrace (Broadway between 155 and 156 Streets) from Thursday, March 7 through Sunday, April 7, 2019. Exhibiting artists were chosen from over 130 nominees submitted by the members of the Academy, America’s most prestigious honorary society of architects, artists, composers, and writers. The recipients of the Academy’s 2019 Art and Purchase Awards will be selected from this exhibition.
Speaking to the ARTnews team, German-born Linnenbrink describes the methods he employs to create his brilliantly colored drill and drip paintings, and discusses what he has learned over his thirty year career.
Markus Linnenbrink's solo exhibition is currently on view at Miles McEnery Gallery, 525 W 22nd Street, through 9 March 2019.
56 HENRY is pleased to present "Notebook," an exhibition curated by Joanne Greenbaum. Comprised of over 70 works, ranging from lists and diagrams, to small drawings and torn out sketchbook pages, Notebook showcases an index of items culled from artists’ processes. The installation of works will be on display from February 9th through March 31st, 2019. Notebook is 56 HENRY’s first group exhibition, and second collaboration with Joanne Greenbaum.
Headlands Center for the Arts is pleased to present Monique van Genderen with the Chiaro Award for painting.
"We support artists of every discipline through our Focus Fellowship awards, nominated annually by our National Advisory Council — esteemed peers and experts in the field. Focus Fellowships provide the opportunity for individuals, corporations, and other organizations to directly support artists and their influence on building healthy, creative communities. Funders of these awards have the chance to name the fellowship and to work closely with AIR Serenbe to determine what kind of artists the fellowship will serve." —AIR Serenbe
NEW YORK, NEW YORK – MILES McENERY GALLERY is pleased to announce its representation of April Gornik.
April Gornik’s masterfully rendered paintings depict radiant and atmospheric scenes of the land, sea, and sky. Working in oil paint, Gornik captures the subtle nature of light with its capacity to simultaneously illuminate and obscure. By combining the literal with the imagined, her paintings possess an intimate, ethereal quality that invites personal contemplation by the viewer. As Gornik expresses, “I am an artist that values, above all, the ability of art to move me emotionally and psychically. I make art that makes me question, that derives its power from being vulnerable to interpretation, that is intuitive, that is beautiful.”
Icons of Bronx History Are Honored in Rico Gatson’s New York Subway Murals
"Figures like Justice Sonia Sotomayor, James Baldwin, and Maya Angelou’s take center stage in the artist’s new MTA mosaics for the 167th Street station."
The Moss Art Center is pleased to present the group exhibition "Arboreal," featuring artists:
Jason Middlebrook, Elizabeth Bradford, Diane Cook and Len Jenshel, Ori Gersht, Sam Krisch, Rosemary Laing, Tom Nakashima, Roxy Paine, Quayola, Linda Foard Roberts, Eric Serritella, Claire Sherman, Michele Sons, and Yuken Teruya
24 January - 23 March 2019
Exhibition: Hans Hofmann at Miles McEnery Gallery
This show spans multiple decades of Hans Hofmann’s painting, and testifies to how European modernism, in particular its artists’ use of color and composition, inspired him. Of his process, Hofmann said, “I do not want to avoid immersing myself in trouble–to be in a mess–to struggle out of it. I want to invent, to discover, to imagine, to speculate, to improvise–to seize the hazardous in order to be inspired.”
FLATLAND is thrilled to announce its new group exhibition: YUMMY YUMMY. It deals with various forms of the appeal of art in its contemporary context, taking the deliciousness of its term as a starting point for an examination of current ideas of seduction and gluttony. Curator Josephine van Schendel, recently graduated cum laude from KABK, has selected works by 8 international artists, comprised of Flatland Gallery’s represented artists and guest artists.
December 11, 2018—Anonymous Was a Woman today announced the ten recipients of its 2018 awards, which recognize women artists over 40 years of age who have made significant contributions in their fields to date, while continuing to create new work. Each recipient receives an unrestricted grant of $25,000.
Beverly Fishman’s high gloss surfaces have an inscrutable beauty. The shape and color of each work looks both estranging and familiar, and whilst the combinations of sometimes acidic or synthetic color entrance, they do not comfort. The reason, I suspect, is because not only are the multiple variations of geometric abstraction present but also the nagging solicitations of brand imaging. Fishman is of the generation of abstract painters who came to abstraction after it was cleansed of the conceit of purity. Abstraction had entered the realm of the senses by way of referential visions that embraced the world at large, free of dogma, or certainty, or for that matter a sure sense of subjectivity.
Federico Luger Galery is pleased to present:
"SELFPORTRAITAS" by Franklin Evans
22 November 2018 – 17 January 2019
A public reception for the artist will be held Thursday 22 November, 6:30 – 9:00 PM
The Bruce Museum is pleased to present:
Downsized: Small-Scale Sculpture by Contemporary Artists
3 November 2018 - 27 January 2019
An artists panel discussion will be held on Thursday 8 November from 6 – 8pm
The New York Studio School presents Known: Unknown, an exhibition that brings together power players of painting today and emerging creators of tomorrow. We invited a select group of prominent artists to participate in this exhibition, with an added twist—each invited artist chose one emerging or lesser known artist to also be included in the show.
Opening Reception: Thu, November 01, 2018, 6:00PM - 8:00PM
by Lukas Périer
In September of 2014 The Anderson Collection at Stanford University opened in a 30,000-square-foot-building designed by Ennead Architects, showcasing 121 works from 86 artists (among them, Willem de Kooning, Jackson Pollock, and Wayne Theibaud).
"Sculptors ReCollected" turns the Massry Gallery at the College of Saint Rose into what is almost a primer on contemporary sculpture and sculptural installation. Francis Cape, James Clark, and Judy Pfaff are each given a third of the gallery to make very different dimensional statements as part of a splashy 10th anniversary celebration of the Massry.
Many people scoff at abstract art, saying that it requires no skill to make. But new studies show that even the untrained eye detects the differences that set apart the work of real artists.
A few years back, Evan Maurer visited James Hayward at his farm in Moorpark, California, for a barbeque.
Maurer, a curious sort who was the Minneapolis Institute of Art’s director and president from 1988-2005 and a long-time friend of the artist, entered Hayward’s studio to check out some of his art – including a series Hayward had painted depicting the Stations of the Cross. The 14 pieces have never been shown in public.
Maurer told Hayward he had the perfect place to show them – Saint John’s University.
Berggruen Gallery is pleased to present:
Isca Greenfield-Sanders: INHERITED LANDSCAPE
18 OCTOBER - 21 NOVEMBER 2018
An opening reception will be held on Thursday 18 October, 5 – 7pm
Miles McEnery Gallery is featuring works by Beverly Fishman at the New York venue.
The inviting, and deeply intriguing wall reliefs on view through November 10, 2018 at Miles McEnery Gallery are a continuation of a series Fishman began in 2012.
The works on display are made using urethane paint on cut wood panels.
Their large size and bright color palette are confrontational and bursting with tensions that beguile the viewer’s senses. By painting the edges of the pieces with gleaming fluorescent tones, the colors interact with the white of the wall behind it and give the illusion of a neon glow.
Praz-Delavallade Los Angeles is pleased to announce: “I Dream My Painting and Then I Paint My Dream” the inaugural group exhibition for Praz-Delavallade and 1301PE’s annex project space, UNIT 5.
“I dream my painting and then I paint my dream”, an ethos uttered by the late Van Gogh, famously articulates a process of grappling with the medium of painting to function as a conduit for larger concepts beyond the domain of reality. A dreamscape abstracts the ordinary to a world of possibilities, one where everyday banalities lose their index; unhinged from their clichés to the extraordinary world of the unfamiliar.
Group Exhibition: Matthew Brandt, Heather Cook, Alexander Kroll, Dan Levenson, Nathan Mabry, Amanda Ross-Ho, Joe Reihsen, Jim Shaw, Marnie Weber, Brian Wills, Guy Yanai
New York Academy of Art is pleased to present:
Betsy Eby & Bo Bartlett in conversation with Alyssa Monks
October 10th 2018, 6:30pm
The Schneider Museum of Art at Southern Oregon University is pleased to present:
Terrain: The Space Between from the Collections of Jordan D. Schnitzer and His Family Foundation, Ffeaturing work by Vija Celmins, Judy Pfaff and Ed Ruscha
28 September, 2018 – 5 January, 2019
Long Beach Museum of Art Board of Trustees & Executive Director, Ronald C. Nelson are pleased to present:
John Sonsini | Daywork: Portraits
12 October 2018 – 6 January 2019
An opening reception will be held on Friday 12 October, 7:00 - 9:00pm
Renowned abstract painter Emily Mason to speak at BMAC on Friday, 19 October
Free talk by the 86-year-old artist is presented in connection with a major exhibition of her work at Brattleboro Museum & Art Center
Brattleboro Museum & Art Center is pleased to present:
Emily Mason: To Another Place
5 October 2018 – 10 February 2019
Opening reception: Friday, 5 October at 5:30 pm
Artist Talk: Friday, 19 October at 7 pm
MCASD Downtown is pleased to present:
Being Here with You/ Estando aquí contigo
20 September 2018 – 03 February 2019
Kalamazoo Institute of Arts is pleased to present:
A Fine Line
15 September – 6 January 2019
Opening Reception: 27 September, 5:30 – 8:00pm
The UCI Institute and Museum for California Art is pleased to present:
First Glimpse: Introducing the Buck Collection
Curated by Kevin Appel, Cécile Whiting, and Stephen Barker.
September 29, 2018 – January 5, 2019
Opening Reception: 29 September, 2018 | 2:00 – 5:00 p.m.
Inka Essenhigh creates beautiful, whimsical worlds populated with fluid, ambiguous figures. Their playfulness invites us into their delightful, other-worldly realm of melting dreams.
Garrison Art Center is pleased to present:
15 September – 14 October 2018
Opening Reception: 15 September, 4 – 7 pm
Senior & Shopmaker is pleased to present Spheres of Influence: Al Held, Michael Craig-Martin, Judy Pfaff, and Stanley Whitney, a group exhibition of drawings by preeminent abstract painter and former Yale professor, Al Held (1928-2005), along with three illustrious former students from the Yale School of Art graduate program, Michael Craig-Martin (MFA 1966); Judy Pfaff (MFA 1973); and Stanley Whitney (MFA 1972).
Craig-Martin, Pfaff, and Whitney have each acknowledged the impact Held had on the development of their critical thinking and practice during their student years and beyond. This exhibition brings together works on paper, dating from 1963 to 2018, from which common themes emerge.
I remember the first time I saw Jo Baer’s painting ‘H. Arcuata’. It wasn’t at a museum or gallery; it was the same kind of encounter I had with most art that hit me as an undergraduate at Penn State University. It was in a magazine. Even in print the painting knocked me out. It was so unlike any other work I had seen up until that time. It was painted three years before I was born in 1971. The stretcher was just deep enough to separate it from the depth of a normal canvas. This seemed a purposeful choice to make the painting more sculptural in its read.
Culver Center of the Arts is pleased to present:
Yunhee Min & Peter Tolkin: Red Carpet in C
18 August - 29 December 2018
Opening Reception: Saturday 29 September, 2018, 6 – 8pm
L.A. Louver is pleased to present:
20 June – 17 August 2018
A color explosion is on view at Miles McEnery’s booth, where the Chelsea-based gallery has brought a wide spectrum of pigment-heavy offerings. The German Markus Linnenbrink’s horizontally situated work is dappled with tiny pools of colored rings, mesmerizing and impressive in its formal qualities. A highlight of the gallery’s display is Tomory Dodge’s Figment, a prime example of the artist’s ability to distill photographs into purely abstract gestures that evoke the pigmentation of colorists like Joan Mitchell and Gerhard Richter, with a frenetic dynamism that is completely his own.
Nothing in art is more powerful than color. From Monet and Matisse to Mark Rothko and Frank Stella, and onward to the huge Color Field canvases and pulsing neon sculptures of today, color as a means of expression is the keynote for this wildly exuberant show. Potent even to the point of being considered dangerous, it is the most exciting element of art, the strongest tool in the toolbox. “Color, above all, is a means of liberation,” Matisse declared.
Gaa Gallery Wellfleet is pleased to present:
Judy Pfaff : × × × ÷ ÷ ÷ = = = + + +,
July through 11 August, 2018
Earlier this year, the New York gallery formally known as Ameringer | McEnery | Yohe changed its name to Miles McEnery Gallery. Today, the gallery, whose headquarters are located on West 22nd Street in Chelsea, announced the opening of a second location in the neighborhood, at 520 West 21st.
Harper's Books is pleased to present:
Opening reception 17 August 2018 from 5-8PM
Lux Art Institute is pleased to present:
On exhibit through 4 August, 2018
The Nevada Museum of Art is pleased to present:
Manet to Maya Lin
9 June – 2 September, 2018
The Johannes Vogt Gallery is pleased to present:
THE BARN SHOW 2018
July 7 – July 29, 2018
Opening Reception: Saturday July 7, 2018, 6 – 8pm
Abstract Room at Université de Strasbourg is pleased to present:
Abstraction & Architecture
10 – 20 October, 2018
Opening: Friday, 12 October, 5 – 8 pm
Praz-Delavallade Los Angeles is pleased to present:
AS YOU LIKE IT – C’EST COMME VOUS VOULEZ
28 June – 18 August, 2018
Opening: Thursday, 28 June, 6 – 8 pm
Bo Bartlett’s newest paintings at Miles McEnery Gallery balance the public and private spheres.
In 1807 William Wordsworth published a sonnet that could have been written yesterday. The World Is Too Much With Us today as it was then, perhaps even more so with 24-hour news providing information into conflicts around the globe and on our failure to be caring stewards of the world we live in.
When I come across a work of art as weird and seductive and startlingly beautiful as an Inka Essenhigh painting, I haven’t the faintest desire to engage in my critical faculties. I just want to be overcome by the supple, erotic strangeness of her surrealist narratives; the chitinous sheen of her works’ surfaces; her Prada-meets-Star Trek palette; and the gelatinous, ectomorphic figures. You want to dissolve into an Essenhigh painting, in the same way that she dissolves virtually all solidity within her forms and spaces. Every body, every thing looks as though it’s made of melted caramel, or flowing silk, or liquid latex suspended midair, or some sinuous, alien protein.
Bo Bartlett brings the narrative painting tradition up to date, merging the historical with the personal.
Essenhigh reveals a freedom that resonates with all manner of fusion: of figure and design, of abstraction and narrative, of sentiment and humor, and more generally, of ambitious painting with a readable narrative.
New York—Wood slabs, branches and roots are the canvases for Hudson Valley artist Jason Middlebrook, whose works overlay nature’s geometries with his own. Those include Eleven Ways to Get Your Groove On, an acrylic painting on a cross section of maple, an upcoming commission for a courthouse in Mobile, Alabama, and a series of graphic planks coming to New York’s Miles McEnery Gallery.
Galerie Derouillon is proud to present our new summer group show
Opening May 17th, from 5 to 9 pm
Fredric Snitzer Gallery is pleased to present Cut Figure, by Iva Gueorguieva. The artist’s second solo exhibition at the gallery features works ranging from paintings on stretched canvas to relief sculptures made with steel, wood, cardboard and muslin. Gueorguieva views them as spatial constructions related to the work of Lucio Fontana and Thornton Dial, in a lineage including Russian Constructivism, American Assemblage and Dada.
Next to Nothing presents a group exhibition that revisits early Modern figurative painting and Symbolist poetry through the recent work of 12 contemporary artists. The artists in the exhibition inflect Modernist forms with contemporary perspectives on intimate subjects including: the poetics of domestic architecture, the pertinence of ancient myth, and the solipsism of art history.
Susanne Vielmetter Los Angeles Projects is pleased to announce an exhibition of new work by gallery artist Yunhee Min, titled Wilde Paintings. Named for the first body of work made in her new studio located on Wilde Street in downtown Los Angeles, Min was reminded of the literary reference to Oscar Wilde who wrote in a letter that, “Art is useless because its aim is simply to create a mood.” Like the impact of “room sound” on audio recordings, room light and the feeling of a room can make dramatic impressions on an artist’s experience in the studio. The quality and abundance of diffused light from the sun in Min’s new studio has affected how she considers her work. There is an increased concern with the paintings’ presence and character, and with setting a mood.
Join us for the first of four creative conversations led by Brian Alfred, host of the Sound & Vision Podcast. He will be joined by Japanese-born artist Hisham Akira Bharoocha. They’ll have an in-depth discussion about how music, art, and design work together to communicate feeling.
1. To truly understand the work of David Allan Peters, you have to know the process behind it. After layering countless sheathes of paint, the artist carves the surface, removing small chunks and lines that when viewed from far away, reveal an intricate geometric pattern.
Among the statesmen and presidents at the National Portrait Gallery in Washington, D.C., there's now a sandwich maker, a seamstress, and a grape picker.
"American portraiture has been about the elite, where the wealthy subject was able to hire an artist," said Dorothy Moss, co-curator of the exhibition "The Sweat of Their Face: Portraying American Workers."
Inka Essenhigh's paintings, which combine twisted narratives, liquid line work, and oneiric imagery, are at once otherworldly and rooted in specific times and places. This season, that dissonance will be on display in a trio of new projects. This month, the artist’s surreal landscapes and fever-dream interiors will occupy the Virginia Museum of Contemporary Art. In April, New York’s Drawing Center will present Manhattanhenge, a site-specific mural for the Soho building’s stairwell. And later that month, she’ll open her first solo show with Miles McEnery Gallery in Chelsea.
This exhibition reexamines the important contemporary art movement that found its roots in the late 1960s in California and New York and continues today known as Photorealism. Aligned with Pop Art, Photorealism features ordinary elements of contemporary life such as vehicles, buildings, streets, and consumer products in an objective, often clinical, manner. Artists Richard Estes, Audrey Flack, and Ralph Goings use photography as a tool to help them reproduce the image as realistically as possible on canvas.
As part of its ongoing series of commissions for the Stairwell, The Drawing Center has asked New York artist Inka Essenhigh to create a site-specific wall drawing. Essenhigh’s installation will be the third in the series, following Gary Simmons’s Ghost Reels (2016–18) and Abdelkader Benchamma’s Dark Matter (2015–16).
This exhibition reexamines the important contemporary art movement that found its roots in the late 1960s in California and New York and continues today known as Photorealism. Aligned with Pop Art, Photorealism features ordinary elements of contemporary life such as vehicles, buildings, streets, and consumer products in an objective, often clinical, manner. Artists Richard Estes, Audrey Flack, and Ralph Goings use photography as a tool to help them reproduce the image as realistically as possible on canvas.
The Virginia Museum of Contemporary Art (MOCA) celebrates the opening of Inka Essenhigh: A Fine Line. Essenhigh gained national attention in the late 1990’s and is known for her experiments with enamel paint, traditional oils, and printmaking. Inspired by time spent in New York City and Maine, Essenhigh developed her signature use of line by practicing automatic drawing. Fantastical images of the everyday, both urban and rural, distinguish her work.
THERE ARE NO BOUNDARIES IN THE WORLD OF COLOR. Travelers who wander there find it filled with infinite possibility, a universe limited only by their willingness to experiment, explore and reach into the unknown. Painter Emily Mason has followed her intuition into these lands for more than six decades, traveling through the looking glass to produce an original body of work that mesmerizes and excites its viewers as few American abstractionists have done before.
Artist Inka Essenhigh spent the early years of her career thinking that her fluid, feminine paintings were a no-no.
As she painted graceful fairies, ghosts and woodland creatures that played in colorful, mystical universes, her art friends called them lightweight and kitschy.
But the work felt right, so the New York-based artist kept creating.
Through her painting, Inka Essenhigh provides an authentic voice. Since her emergence into the art world during the late 1990’s, she has created a path for herself that consistently questions and redefines her relationship with her media. She has moved from using enamel paint to traditional oils and back; creating hybrids of the two. Her substrates have included paper, canvas, and panels. Throughout each phase of experimentation, she created dialogues with her work, navigating how the media and brush interact, sometimes with genuine surprise at the result.
Sophia Contemporary is pleased to announce Portal, the first two-person show of American artists Iva Gueorguieva and Dona Nelson. Gueorguieva and Nelson come from two successive generations of artists whose work is at the forefront of contemporary abstraction in the United States. Through painting and sculpture, both artists grapple with the history of painting, redefining abstraction and challenging the material and conceptual boundaries of their media. The exhibition initiates an intergenerational visual dialogue through fifteen works including Iva Gueorguieva’s vibrant acrylic and collage works and Dona Nelson’s signature double-sided freestanding paintings. Portal will open to the public with a talk by both artists from 6-7PM on Thursday, March 15, 2018 followed by a private view from 7-9PM. The exhibition will remain on view through May 3, 2018.
Join us at this week’s Lunch on Fridays talk to hear from visiting artist Kevin Appel, whose paintings explore the relationship between physical space, architecture and the painted image. Using photographs as a ground to build his painting, he applies layers of paint that act as screens, compressing the perceived space.
Aiming to introduce the New York audience to a more experimental and younger facet of its program, Luciana Brito – NY Project is pleased to announce the opening of its third exhibition, Reflector, taking place on March 6, 2018, amidst the busy Armory Week. This group show establishes a dialog between three young São Paulo artists represented by the gallery – Pedro Caetano (b. 1979), Rafael Carneiro (b. 1985), and Tiago Tebet (b. 1986) – and a selection of artists from the same generation who are based in New York City: Gustavo Prado (b. 1981, Brazil), Nicole Wittenberg (b. 1979, USA), Guy Yanai (b. 1977, Israel), and G.T. Pellizzi (b. 1978, Mexico).
The exhibition features paintings – a language in which light plays an essential role – as well as sculptural investigations and installations that use optical and luminous elements, like mirrors and light bulbs. This shared characteristic inspires the title of the show and establishes a common thread between practices as distinct as those of Rafael Carneiro and Gustavo Prado, for example. Furthermore, by creating a dialog between artists who live and work in either São Paulo and New York, the gallery aims to propose a mirroring of sorts between the cities that are home to its two headquarters, promoting encounters between the artistic production from two locations that are far apart from one another, both geographically and culturally.
After a successful solo exhibition with Praz-Delavallade in Los Angeles at the end of 2017, and participation at a couple of art fairs earlier this year, Guy Yanai will be opening his first solo show of 2018 at Conrads Galerie. Continuing his long-time collaboration with the Düsseldorf-based gallery, and pursuing his overall prolific output, he will be showing a new body of work titled Boy On An Island.
Sparked around the artist's dream about a boy stuck on an island, this group of paintings see a revision to some of Yanai's most recognizable motifs, such as plants and boats, as well as the introduction of new imagery. Sadly, the title image of the show was never realized, but it was that idea that intuitively pushed the artist to chose the remaining images for the exhibition. Seemingly incoherent in their relations with each other, they are all images to which the artist can relate strongly on a personal level. Whether depicting the poolside of La Colombe d’Or hotel, a plant picture from an old Vitra catalog, an autumn image from Peanuts comics, or one of many images of boats, they are all portraying the nostalgia towards particular moments in his life. Painted using unique linear brush work, a style that flattens the image but still uses subtle tones to depict depth and light-play, these works intrigued us to the point we had to ask the Tel Aviv-based artist to tell us a bit more about it.
The Painting Center presents Cultivate Your Own Garden, an exhibition of twelve contemporary artists: Cecile Chong, Elisabeth Condon, Daniel Dallmann, Carlo D’Anselmi, Lois Dodd, Ashley Garrett, Xico Greenwald, Eric Holzman, Wolf Kahn, Judith Linhares, Carol March and Ruth Miller on view through March 24th.
The title for the show comes from the Voltaire novel Candide (1759) and refers to the idea of taking care of one’s own needs before taking care of others’. The idea of connecting to nature despite the cacophony of the world around us seems apt at this moment in history. Curators Patricia Spergel and Shazzi Thomas selected artists for this exhibition who reference garden and landscape in their work in a variety of ways – traditional observational painting, works with subtle satirical and political commentary and paintings that lean towards abstraction. What all these paintings have in common is a love for nature and paint, and a clear, focused approach to transmitting that passion.
It’s another unseasonably warm winter day in New York City. Tuesday February 13th, early evening and dark out. It’ll be in the 50’s tomorrow and in the 60’s the day after. I’m trying to remember if I’ve ever experienced such a warm February in NYC. There’s an unsettling mist and fog in the air as I weave through end of the day rush hour hordes of people – many bumping into each other as they walk with illuminated faces absorbed in their handheld screens. The pedestrian crowd dissipates as I walk through Chelsea and finally step into Miles McEnery Gallery to meet up with artist Brian Alfred for a look and talk about his current one-person show of 15 paintings and one animated video projection.
By Brian Boucher
What the Gallery Says: “Taking its title from Alvin Toffler’s 1970 novel and Herbie Hancock’s 1983 album, Brian Alfred’s Future Shock embraces both of their messages and expands upon them. Toffler warns of an impending information overload as well as humanity’s inability to adapt to the ever-increasing speed of industry and consumerism. Alternatively, Hancock’s album welcomes the so-called information overload, praising the expansion of musical possibilities brought on by technology.”
We live in a world where Instagram rules culture; where our President, instead of sending out official memos, types obscenities and presses 'tweet.' When everything you could ever need is accessible with just one click, our society's need for constant consumption has turned into the information overload. So, what do we do - embrace it or treat the fuck out? These are the questions artist Brian Alfred asks in his latest exhibition, Future Shock, at Miles McEnery Gallery in Chelsea
FOR AN ARTIST who emerged from the Sturm-und-Drang driven Abstract Expressionist movement of 1950s New York, Emily Mason's work is remarkably serene. This quality is not only apparent in the way vibrant swaths of oil paint harmonize with each other on the canvas; it also comes through in the way her career has quietly percolated along through the decades since, without drama or self-promotion, with no clearly delineated sty listic phases or periods. Mason, now 86, is still making new work the way she always has-by intuition, without any need for theo ries, without measuring herself against others.
Growing up in Columbus, Georgia, Bo Bartlett did what was expected of him every Sunday. He listened intently to the preacher, prayed hard and committed those weekly lessons in morality and righteousness to the deep recesses of his dutiful mind. He was a good son, and his Sunday routine at the Baptist church was pure joy.
Ameringer McEnery Yohe Gallery, located in the Chelsea neighborhood of New York, is expanding its Twenty-Second Street headquarters and will reopen in February. Alex Greenberger of Artnews writes that the arts space is also being rebranded as Miles McEnery Gallery. “As an art dealer, you always want more ambitious space, to do more ambitious shows,” Miles McEnery, the gallery’s director, said in a statement. “We’re always looking to grow, both physically and conceptually.”
New York’s Ameringer | McEnery | Yohe gallery will now be called Miles McEnery Gallery, and will reopen its West 22nd Street headquarters this February. The first show in its newly renovated space, which has also been expanded by 1,500 square feet, will be “Belief in Giants,” a group show opening on February 17 that features work by all of the artists on the gallery’s roster. (The gallery’s West 19th Street satellite will remain open for now, and will have on view a Brian Alfred show at the same time.)
Correspondence between “M” and “Q” from the National Intelligence Archives on Declassification Day.
M: It appears that, in recent years, Davis Cone has considerably advanced the genre of Photorealist painting.
Q: Indeed, Cone has achieved a greater sense of depth in the works he’s been producing over the past ten years. He doesn’t emphasize the inherent flatness of photographs, as other Photorealists have done.
The Bo Bartlett Center, an 18,500-square-foot interactive gallery space, was inaugurated at Columbus State University in Columbus, Georgia on Thursday, January 18. Located on the school’s River Park campus, the former textile warehouse turned arts center was designed by American architect Tom Kundig, owner of the Seattle-based firm Olson Kundig Architects.
Columbus artist Bo Bartlett put his hands in the praying position just below his chin and looked upward.
Thursday afternoon at the dedication of the new Bo Bartlett Center on the Columbus State University RiverPark campus, Bartlett was remembering those who were not with him to celebrate the moment.
The moment transpired in front of a 11 foot by 17 foot Bartlett work, entitled “Civil War,” painted in 1994.
Susanne Vielmetter Los Angeles Projects is pleased to announce the gallery’s eighth solo exhibition of new work by Patrick Wilson.
Patrick Wilson’s intensely colorful canvases are populated by hard-edged, quadrilateral planes in varying opacities, layered and cantilevered in carefully finessed compositions. His new works reflect an increasingly energetic complexity that Lilly Wei has described in a recent essay as “breathtaking and nuanced, the juxtapositions [between colors] often quirky and unpredictable.”
(Los Angeles, CA) - DENK gallery is pleased to announce Shift, a painting exhibition featuring new works by Los Angeles-based artists Karen Carson, Kim Dingle, Iva Gueorguieva, and Elisa Johns. Each of these four painters is unique in her simultaneous exploration of both abstract and representational genres. This show will present new and recent pieces by each of the four painters, focusing on the often ambiguous transitions in their works and practices from the referential to the abstract.
From the gallery to the city, Brian’s work explores mediums as those of collage, painting and animation. From large scale works to small scale, the relationship between these is continuously considered whilst trying to address larger contemporary issues. Oscillating between artists and curator, Brian also hosts a ‘Sound and Vision’ podcast, conversations with fellow artists and musicians on the creative process, ‘discussing life as a creative person.’
The Bo Bartlett Center will be a 18,425 square foot interactive gallery space, housed on the River Park campus of Columbus State University. The red brick, former textile warehouse turned gallery space, designed by AIA award winning architect, Tom Kundig, sits on the banks of the Chattahoochee River in Bartlett’s hometown, Columbus Georgia. As a cornerstone of the College of the Arts’ Corn Center for Visual Arts, The Bo Bartlett Center will be a pivotal element in the continued emergence of a national and international presence originally established by the College’s Schwob School of Music and its Legacy Hall. Complementing exhibitions in the CSU Department of Art’s acclaimed Norman Shannon and Emmy Lou P. Illges Gallery, The Bo Bartlett Center will serve as an experiential learning center and cultural hub for the visual arts while affording visitors a broad range of arts experiences offered within the College’s arts district.
Jacob Hashimoto is interviewed by Cassie Davies for Studio International.
“Wolf Kahn” at Ameringer McEnery Yohe (through December 23): This week is the last chance to catch “Wolf Kahn,” an exhibition of paintings that push the limits of an abstract language that the American artist has been developing for over seventy years. The exhibition, at Chelsea’s Ameringer McEnery Yohe, comprises fifty-six oil landscapes that were all made within the past two years—a considerable testament to the vitality of Kahn’s vision and practice. These new paintings exude Kahn’s trademark high-pitched color, employed within fields of flittering, calligraphic textures that that seem to remove the pictures, more so than ever before in his mature work, from the natural world. This comprehensive survey of Kahn’s most recent direction, which closes on Saturday, is not to be missed.
Can you tell us about the cuts, those thick layered paintings into which you literarily dig trenches?
Yes, the cuts make up the latest body of work that I introduced in the last two years. They are similar to my drill pieces; it is the same procedure, the same process. The resin gets layered on a wooden support, and when the piece seems to be thick enough to do something with it, I think about the last color which is going to be the top layer. The layering gets built up to a thickness of about 3 cm, so a painting can become quite heavy, it gets almost sculptural.
John Sonsini's painting Christian & Francisco is now on view at the Autry Museum of the American West in Los Angeles, CA.
Call your Milton Avery–loving friends and grab a plane, train, or automobile to Miami. (If you don’t have any, just grab some friends and do the same: it’s time to make converts.) The late, great painter and once-in-a-generation colorist, who died in 1965 at the age of 79, is one of the stars of this year’s edition of Art Basel Miami Beach. No fewer than five galleries are presenting his works at the fair, where at least 10 works by the severely underrated American painter are hanging at the moment.
Galleries, Booth G5
With works by Milton Avery, Helen Frankenthaler, Hans Hofmann, Alex Katz, Robert Motherwell, Willem de Kooning
Issue 02 of AUGUST Journal, the New York issue. Featuring stories on Massimo and Lella Vignelli's apartment, Alanna Heiss's loft, Joe Baum's restaurants; with texts, photographs, and artworks by Pilar Viladas, Wendy Goodman, Matt Tyrnauer, Alix Browne, Ricky Clifton, Jason Schmidt, François Dischinger, Ngoc Minh Ngo, Martyn Thompson, Andrew Zuckerman, Matthew Johnston, Marc Yankus, Jean-Philippe Delhomme, Mel Odom, and many other grand New York legends.
The Sweat of Their Face” combines art and social history with representations of American laborers across genres and centuries of art. Artists such as Winslow Homer, Dorothea Lange, Elizabeth Catlett and Lewis Hine depict laborers throughout the changing landscape of America; from child and slave laborers to miners, railway and steel workers, to the modern gradual disappearance of the worker. Approximately 75 objects in all media (including video) highlight a point of connection between the artists and their predominately anonymous subjects.
La galleria Maurizio Caldirola arte contemporanea è lieta di presentare la prima mostra personale italiana di Markus Linnenbrink, artista tedesco residente a Brooklyn, New York.
Il lavoro di Markus si contraddistingue per la sperimentazione di un nuovo processoo creativo legato all’astrazione. Astrazione derivata da un paziente processo sico, metodico, legato alla strati cazione di particolari colori resinosi. Nella serie “Drip” l’artista è costretto ad una paziente attesa che consente al colore, libero, di de uire verso il basso tramite preziosi telai lignei e il risultato che ne deriva è una sottile campitura e strati cazione di tante linee culminanti, al termine, in gocce (drip).
Ameringer | McEnery | Yohe will present “Wolf Kahn,” an exhibition of recent paintings celebrating the artist’s 90th birthday.
Wolf Kahn, who studied under renowned Abstract Expressionist artist Hans Hofmann, will show work made during the past two years that continue his exploration of color. The landscapes, which are simultaneously descriptive and abstract, depict the changing of the seasons with quick, flickering brushstrokes and delineated bands of vivid hues. Kahn, whose work blends realism and the formal discipline of Color Field painting, embodies in his paintings the fusion of color, spontaneity and representation.
For the past thirty-two years Emily Mason has collaborated with five master printers to create works of a singular chromatic intensity, distinguishing and defining her prints as unique. Each printer offers individual direction which Mason modifies or personalizes to further stretch the boundaries of her gestures and color vocabulary. The exhibit represents several different printmaking techniques. What is common to all is that they start with one image on the first plate and end with a cohesive intense exchange between what we see and what lies beneath. Color, shape, and improvisational gesture are printed upon one another until the image is resolved in its final pass through the press. She embraces unique states, giving each work its own space. Imperfections are welcomed. If a tinge of red-orange reveals itself in the registration we read it not as a flaw, but as a brightly colored wink from Mason herself.
Mitchell•Giddings Fine Arts is pleased to offer a survey of Emily Mason’s prints from 1985 – 2016. This gallery-wide exhibit explores Mason’s adventurous approach to contemporary printmaking. Her monoprints, monotypes and solarplate prints epitomize her spontaneous and daring use of color and form.
Over the course of his career, Tomory Dodge has become known for dynamic paintings that explore the representation and mechanics of picture-making. Thanks to mass media and modern technology, images today are on every conceivable surface and confront us at every moment. Painting, one of the oldest means of expression, remains a vital key to understanding the nature of images in modern life, whether they are experienced in the physical world, on our devices, or on-line.
Emily Mason: A Painting Experience is a short documentary portrait about the prolific visual artist Emily Mason. With a career spanning over six decades, this film presents Mason as a shy yet innovative figure in American art, a pioneer in the field of lyrical abstraction, and a master of the so-called "poetry of color".
Wilding Cran Gallery is pleased to present Really?, a group exhibition curated by Beth Rudin DeWoody featuring works in various media by both well-known and emerging artists who work in the field of contemporary realism to visually or conceptually challenge the viewer.
I have always been fascinated with photo-realistic drawings and paintings, and trompe l'oeil sculptures—from artists such as Bronzino and Jean-Étienne Liotard, to the Flemish painters and today's contemporary artists. The ability to create art that reflects reality in this way is a skill I admire so much, especially when the artist goes beyond the merely technical to incorporate more conceptual themes and their unique style of art-making. -Beth Rudin DeWoody
Praz-Delavallade Los Angeles is pleased to present its first solo exhibition by Guy Yanai, opening on November 4 and on view through December 22, 2017. Yanai’s practice is fueled by fables, stories and hymns—each painting a reflection of the pragmatic side of our life. In his isolated moments one may find a smiling child, a big splash, lonely banana, bristling cactus, modernist lamp, a singing bird or a tiny boat gliding on placid waters below a clear sky. These individual vignettes bleed into one another and could continue forever, suspended in time. Many of Yanai’s subjects are intentionally recognizable and commonplace, rendered into a pixelated appearance.
In celebration of Roanoke College's 175th anniversary this exhibition will showcase artists from the Roanoke College's Permanent Collection which will include Cory Archangel, Dennis Ashbaugh, Alice Aycock, Walter Biggs, William Binnie, Edward Marshall Boehm, Alice Ray Cathrall, Paul Chan, William Merrit Chase, Salvador Dali, N. Dash, E.V. Day, Betty Dixon, Michele Oka Doner, Bradford Ellis, Elliot Erwitt, Margaret Evangeline, Franklin Evans, Mark Fox, Clare Grill, Dorothy Gillespie, Debbie Grossman Jane Hammond, Pablo Helguera, Ryan Humphrey, Guillermo Kuitca, Diego Lasansky, Liz Magic Lazer, Shane McAdams, Yassi Mazandi, Tom Otterness, Alexandra Penney, Nathaniel Mary Quinn, Alan Reid Duke Riley, Rachel Rose, Kay Rosen, Emily Roysdon, Hunt Slonem, George Solonevich, Keith Sonnier Fred Tomaselli, Kerry Tribe, Robert Vickery, Andy Warhol, Rob Wynne, Firooz Zahedi and Andrew Zuckerman.
Donald Taglialatella is pleased to announce that on Friday, 27 October, from 1 to 3pm, he will host a happening at his World House Editions stand, #102, at the IFPDA Print Fair in New York City. Dubbed The ARTpin Project and curated by painter and video animation artist, Brian Alfred, artists EJ Hauser (American, b.1967), Nathan Carter (American, b.1970) and Brian Alfred (American, b.1974) have each offered artwork for two limited edition pins and will be on hand at the World House Editions stand to give away these pins created for The Print Fair. This project is the first in a series of ARTpin projects that World House Editions will be collaborating on with artists.
The National Museum of History and Art dedicates for the first time in Luxembourg an exhibition to one of the main representatives of American Abstract Expressionism.
Hans Hofmann is one of the most important 20th century American modernist artists and art teachers. Born in 1880 in Weißenburg, Bavaria, Hofmann died in the United States in 1966. In his oeuvre, he combines the traditions of European modernist painting with influences from American postwar art.
Creation in Form and Color: Hans Hofmann is organized by University of California, Berkeley Art Museum and Pacific Film Archive, in collaboration with the Kunsthalle Bielefeld and the National Museum for History and Art Luxemburg.
by David Pagel
The size of Monique van Genderen’s paintings on linen and aluminum panel dwarf visitors to her exhibition at Susanne Vielmetter Los Angeles Projects in Culver City.
Four giant paintings run from one inch above the gallery floor to within one inch of the top of the 14-foot walls. Each of the untitled works is 6½ feet wide.
Ten paintings are hung side by side so that you can see the sweeping gestures van Genderen has made with rags, rollers and mops. The suite measures more than 40 feet long and 8 feet tall. A large part of a wall had to be removed so that this freight train of a painting could hang on a single wall. The jagged edges of the removed section attest to the power of this abstract landscape, whose 10 panels, lined up like boxcars, seem go on forever.
Esteban Vicente. Color and Form is the most important exhibition of this artist ever organized in Catalonia. With almost 40 works, this exhibition proposes a complete view of the artist's aesthetic development, starting with his figurative works, when he exhibited in Barcelona in the early 30's, until his latest abstract paintings of the 90's after going through the abstract expressionist stage that became so relevant in the United States during the 40s and 50s. In fact, Esteban Vicente was the only Spanish artist that belonged to the first generation of the renowned New York School.
by Charles A. Riley II
The dazzling, at times even overwhelming “From Lens to Eye to Hand: Photorealism 1969 to Today” exhibition currently on view at the Parrish Art Museum in Water Mill, NY has all the earmarks, for this reviewer, of a reality TV competition. To me, the cumulative effect of the huge, boisterous paintings in this exhibition is to suggest a fierce contest for the title of America’s Top Realist.
OCMA has always championed artistic experimentation and innovation through a commitment to showing and collecting the work of dynamic and groundbreaking emerging artists. This installation will reveal how impactful OCMA has been in supporting the careers of some of the most influential artists from this region, often at pivotal moments in their careers.
Everyone enjoys a good story, and when you visit the Ameringer McEnery Yohe Gallery in Chelsea, you can enjoy a wealth of interesting stories in the work currently on display. When I peeked in the window before entering, I knew I was in for a treat. The first thing I saw were these large canvasses filled with primary and neon colors arranged in interesting geometric shapes. Once I entered, I knew immediately this wouldn’t be an exhibit I could simply breeze through and get a general sense of. I spent as much time as possible with the paintings, practically eating up the rich story life in each.
A touring exhibition curated by Michael Petry and Roberto Ekholm.
The exhibition is based on Michael Petry's book Nature Morte: Contemporary Artists Reinvigorate the Still Life published by Thames & Hudson.
Travelling artists: Peter Abrahams, Sue Arrowsmith, Annie Attridge, Aziz + Cucher, Conrad Bakker, Barnaby Barford, Berthold Bell, Per Christian Brown, Mat Collishaw, Marcus Cope, Michael Craig-Martin, John Dugdale, Roberto Ekholm, Saara Ekström, Nancy Fouts, Nick Fox, Anya Gallaccio, Ana Genovés, Ori Gersht, Rigoberto A. Gonzalez, Cynthia Greig, Martin Gustavsson, Jefferson Hayman, Paul Hazelton, Todd Hebert, Renata Hegyi, Bill Jacobson, Alexander James, Peter Jones, Edward Kay, Rob Kesseler, Alana Lake, Janne Malmros, Carol Marin-Pache,Livia Marin, Caroline McCarthy, Damien Meade, John Mitchell, Polly Morgan, Dermot O'Brien, Gabriel Orozco, Bruno Pacheco, Guillaume Paris, Michael Petry, Marc Quinn, Eric Rhein, Miho Sato, Rebecca Scott, Andro Semeiko, Jane Simpson, Jim Skull, Matt Smith, Rob Smith, Jennifer Steinkamp, Richard Stone, Yuken Teruya, Maciej Urbanek, Mathew Weir, James White, Kraig Wilson, Cindy Wright
by Carrie Beth Wallace
Columbus artist Bo Bartlett recently won the 2017 Gibbes Society 1858 Southern Contemporary Art Prize. The prize was sought after by over 200 artists throughout the Southeast.
Bartlett is widely recognized for his realist paintings. Notable ongoing local contributions include his art initiative for the homeless called Home is Where the Art Is, and the Bo Bartlett Center at Columbus State University opening January 2018.
The artist recently corresponded with Sunday Arts reporter Carrie Beth Wallace to discuss his reaction to winning the award, his current projects, how he’s feeling about the impending Bartlett Center opening, and what he plans to do with the prize money in the future.
This interview has been edited for length and clarity.
Size Matters: Big and Small Works from the FIA Collection features objects of both gigantic and diminutive size. Throughout history, artists have often utilized the element of size (or scale) when determining the context of their work. The objects in this exhibition date from the late 18th century to the 21st century.
by Catherine Hong
When Guy Yanai was 7 years old, he and his family moved from Haifa, Israel, to Framingham, Massachusetts, in the suburbs of Boston. The shock of dislocation he experienced is one he’s never forgotten, with the family’s split-level house at the center of his memories. But what did that house really look like? Thirty-three years later, the artist turned to Google Street View.
The painting Yanai produced, Fox Hill Road (2017), was a central image of his solo show at New York’s Ameringer | McEnery | Yohe gallery this past summer. Simultaneously melancholy, mundane, and joyful, it has the woozy, strangely flattened perspective familiar to anyone who’s shopped for real estate using Google technology. It also has the dreamlike quality that comes with the recollection of a long-distant childhood home.
Born in Columbus, Georgia, Bartlett is acclaimed for his large-scale paintings that explore American life and cultural heritage. His realist style has been honed through extensive training, including a degree from the Pennsylvania Academy of the Fine Arts. Bartlett’s work is included in numerous public collections including the Denver Museum of Art, the Pennsylvania Academy of the Fine Arts, and the Seattle Art Museum.
by Cassie Davies
Guy Yanai’s solo exhibition at Ameringer McEnery Yohe in New York takes its title from an unwritten book by the Russian-born American novelist Vladimir Nabokov. When Nabokov moved to Europe in 1961, to live at the Montreux Palace hotel in Switzerland, he planned to write a sequel to his celebrated autobiography Speak, Memory. It was to be called Speak, America. The book, however, was never written, and Nabokov died in 1977 leaving behind the “shell” of an unwritten, autobiographical sequel.
Artists include: Nicolas Carone, Paul Georges, Philip Guston, Hans Hofmann, Mercedes Matter, George McNeil, Ruth Miller, Alice Neel, Chuck O'Connor, Philip Pearlstein, Vita Petersen, Milton Resnick
by Will Heinrich
Through 3 September
There’s a smoky texture of hypnagogic disorientation on Henry Street inside the artist-run space Shrine. Loose but elaborate figurative work by a dozen painters and sculptors, all of it small scale and much of it held together by a shared palette of purples and browns, makes for a desperately welcome getaway into the cool fertility of unworldly private fantasy.
In “Study for Monsters of Manhattan,” Inka Essenhigh paints three mysterious women with watery lines and finely observed anatomical details. Alice Mackler’s earthenware figure combines squeezes, pokes and thumbprints with a rooster-colored glaze, creating a startling mannequin of bright-eyed psychological defiance. Kevin McNamee-Tweed’s winning monoprints look like plates from a hobo history of civilization, and in Charlie Roberts’s trippy lavender acrylic of a charismatic dancing house plant, apparently rough edges belie a deeply satisfying sense of balance.
by Andrew Russeth
It is the middle of the summer, but the gallery news does not stop!
Today Chelsea’s Ameringer | McEnery | Yohe announced that it will now represent painter Tomory Dodge, who previously showed in New York with CRG Gallery, which said in May that it would close after 25 years in business.
Dodge, who is based in Los Angeles, makes shimmering abstractions that are loosely interlocked and layered. They are playful, sometimes even effervescent, and can be vaguely spiritual. His paintings are in the collection of the Los Angeles County Museum of Art, the Whitney Museum, and the San Francisco Museum of Modern Art, among quite a few others.
A Dolomiti Contemporanee and AGI Verona Collection exhibit Curated by Gianluca D'Incà Levis and Giovanna Repetto
Opening Saturday, 5 August, 6 PM
Artists: Gundam Air, Franklin Evans, Stuart Arends, Cristian Chironi, Ode De Kort, Alexandre Singh, Etienne Chambaud, Gianni Caravaggio, Eugenia Vanni, Marcelline Delbecq, Corinna Gosmaro, Pratchaya Phintong, Renato Leotta, Marko Tadic, James Beckett, Jiri Kovanda, Davide Mancini Zanchi, Maria Laet, Ivan Moudov, Michail Sailstorfer/Heinert Jürgen, Christian Manuel Zanon.
La lama di Procopio is a collective contemporary art exhibit, realized thanks to the collaboration between Dolomiti Contemporanee and the AGI Verona Collection by Anna and Giorgio Fasol, and that hosts the works of twenty-two young international artists.
Featuring: Adrian Esparza, Joachim Grommek, Markus Linnenbrink, Jonathan Parsons, Jan van der Ploeg, Markus Weggenmann, Beat Zoderer
Thomas Taubert and Fred Mann are delighted to present a group show exploring the contemporary nature of abstraction. The two galleries have observed each other’s programs over the years and now seek to place works by their artists alongside each other.
The impetus for the exhibition is a comparison between two artists with a very different practice. Jonathan Parsons and Markus Linnenbrink. Parsons at his last show at New Art Projects explored color by expanding the palette of color theory and creating a series of works that questioned it. Linnenbrink often uses a photographic base to his works and then imposes color on top or creates a flawless surface, which he then drills into to reveal layers of contrasting color poured beneath.
The FLAG Art Foundation presents The Times from June 1 – August 11, 2017, on its 9th floor gallery. The exhibition uses The New York Times as its point of departure and features over 80 artists, artist duos, and collectives who use the “paper of record” to address and reframe issues that impact our everyday lives.
Reading The New York Times is embedded in many people’s daily routines. This chronicle of geopolitical and local issues, tragedies, human interest stories, and trends in culture, serves as both a source of inspiration and medium for artists to assert their perspectives on the state of the world. In the wake of the 2016 presidential election, where news media was deemed the “the enemy of the people,” and The New York Times directly attacked and labeled as “fake news,” FLAG began developing an exhibition examining how seminal artists, such as Robert Gober, Ellsworth Kelly, Lorraine O’Grady, Fred Tomaselli, and others, who have used and been inspired by this newspaper in their practice. To give voice to a larger community, FLAG put out an open call for artist submissions that received 400+ proposals from around the world, and accounts for over half of the artists featured in the exhibition.
Opening reception: Saturday 29 July, 5-8pm
The paintings in this exhibition, SITE/SIGHT, are rooted in direct observation and are influenced by each artist’s perceptual practice and long-cultivated process of close study. Falling along a continuum between abstraction and representation they evoke a strong sense of place in the everyday world. Although we may not recognize the specific motif inferred (landscape, night sky, city, etc.) the authority of perception is tangible.
Sites, subjects, and methods of observation are critical to each artist’s visual language: planted fields, elevations seen from an airplane window, gradations of color in a sky reflected on a watery plane, shapes glanced at through apertures between buildings, or the puzzle of shapes in a tapestry-like world are some of the inspirations for the paintings shown here. Often the focus is upon a fragment of a larger subject or on an aspect removed from its larger context, adding an interesting ambiguity to the work.
Suzanne Caporael, Martha Diamond, Sharon Horvath, Jacqueline Gourevitch, Ellen Kozak, and Joyce Robins are painters in whose work abstraction conveys the resonance of close observation and place.
Opening reception: Saturday 12 August, 6-8pm
Black Lives Shine in Rico Gatson’s New Show
"Rico Gatson’s studio, in Bushwick, is awash in color and geometry. Tall rectangular panels painted in intricate patterns lean against a wall like abstract totems. Other planks lie across tables, works in progress involving ovals and circles. Large paintings on the wall alternate geometric sections in red, black, orange, yellow, and green with others in black and white. Nearby, silhouettes taken from vintage images of Black Panthers and civil rights protesters stand beneath strong colored vertical stripes or radiating lines."
by Bo Bartlett
Today, Andrew Wyeth would’ve celebrated his 100th birthday.
In 1991, I was 35 years old and coming off of a successful show at PPOW Gallery when on the next to last day of the exhibition art critic Roberta Smith wrote a negative review of the work in The New York Times.
I had a strict rule of not reading any of my reviews good or bad. But Wendy from the gallery encouraged me to go out and buy the paper and read the review, because, she said, I would need to “be aware of what people would be saying about the work.” Reluctantly, I did as my gallerist instructed. Although it stung, I didn’t really care about the review at the time. But, the following months shed a different light on the negative ramifications of bad press. Several scheduled articles dried up. Sales slowed to a trickle. I found myself in need of appreciation and resources.
by Jill Singer
Much has been made of the fact that the young Israeli artist Guy Yanai uses painting — an ancient, laborious technique — as his medium, even as he embraces the digital and new media norms of today (even going so far as to reference pixelation in his technique, with short, deliberate bands of color). But I can’t imagine his work would be as indelible as it is in any other medium: It’s stuck with me since I first encountered it in 2014, and his style — which mixes the aesthetics of a transcontinental childhood spent in Haifa, Israel and suburban Boston, with a dash of Hockney — is instantly recognizable. A new exhibition of works on view at Ameringer McEnery Yohe in New York until August 18 deepens his body of work, meditating on experience, memory, and language in a series of 13 new paintings.
Guy Yanai in dialogue with Steven Cox
Steven Cox: Can you tell me a little about yourself, your background, and how/when you first started working full-time as an artist?
Guy Yanai: I was born in Haifa. Then moved to the states in 1984, outside of Boston. I was always into art. It took many years before all I did was this.
SC: Can you tell me about your current studio and working routine? Do you have any morning rituals or habits that contribute towards a productive day within the studio?
GY: I moved to a ground floor studio about a year and a half ago. I fully redid the space, put in good lighting, a kitchen, strong AC units, everything I could. Before that I was in the same building but on the third floor with no elevator (big shipping traumas), no bathroom, no sink, and no kitchen, so it’s very nice to have the studio I have now. I walk to the studio, usually get coffee on the way, maybe granola. I make good coffee now in the studio as well. The thing that really contributes to good productive days is just to really have a studio practice. The more I'm there the better every day gets.
by Chuck Williams
Columbus artist Bo Bartlett, known nationally for his realist works, is painting again.
But this time the canvas is different, even if the familiar backdrop of his hometown of Columbus is the same.
Bartlett, along with his wife and fellow artist Betsy Eby, is directing and producing a feature-length film — “Things that Don’t Stay Fixed.” It is being shot this month throughout Columbus.
It’s the biggest painting we have ever made,” Eby said.
The two are self-funding the ultra low-budget film that has paid lead actors and paid professional production crews.
Artists included: Thomas Joshua Cooper, Rackstraw Downes, Lee Friedlander, Sarah McEneaney, Rod Penner, Frank Reaugh, Peter Saul, John Tweddle, and William Wegman
Artists included: Avni Arbas - Babi Badalov - Raphaël Barontini - Neil Beloufa - Aylin Bozbiciu - Nejat Devrim - Max Ernst - Ayse Erkmen - Bedri Rahmi Eyüboglu - Daniel Firman - Atilla & Filiz Özgüven Galatali - Leylâ Gediz - Douglas Gordon- Selma Gürbüz - Linder- Eva Nielsen - Jill Magid - Marcel Mariën - Thomas Mailaender - Hubert Marot - Ahmet Ögüt - Alex Palenski - Elsa Sahal - Apolonia Sokol - Georges Tony Stoll - Ali Emir Tapan - Marion Verboom - Guy Yanai
by Kevin O'Connor
BRATTLEBORO — Artist Wolf Kahn recalls picking up this town’s newspaper 40 years ago to see himself introduced to Vermonters through a particularly top-dollar interview.
The first question was, ‘How many paintings do you do a year?’ I said maybe 100. The second was, ‘How much do you charge?’ I said a couple of hundred bucks. The next time I had to have my barn reshingled, all of a sudden the price went up.”
Kahn nevertheless thinks highly of his neighbors, be they the farmers who live next door or their cattle that graze his land.
I’ve gotten to feel like I’m no longer just a flatlander — I belong here.”
Locals say that’s an understatement.
This June, visitors to Ameringer | McEnery | Yohe gallery in Chelsea, Manhattan, are confronted with a sea of blues, both literal and figurative, and a strong sense of nostalgia for summers spent by the sea. “Keep Them Still” is an exhibition of striking new works by New York-based artist Isca Greenfield-Sanders, on display through July 1. A collection of watercolor-and-oil paintings depicting blurred, sun-dappled beach scenes and close-ups of abstracted rippled waves fill the rooms. In the first space, two wave paintings—one pink and one blue—hang opposite a pair of zoomed-out coastline paintings from which they were extracted and distilled.
by Gary Brewer
Iva Gueorguieva tells stories, or better stories are told through her. Her ‘memory body’ filters the myriad narratives that she observes and that saturate her consciousness. Iva has an acute memory, collecting observations from the books she reads and the world at large; random bits of information, a persons face, their expression, their posture, the room in which she saw them, fragments of life’s living theater, collected like colorful pieces of fabric. Then in an improvisational approach she unfurls these memories and ideas onto her vast canvases weaving them together to inform the meta narratives which emerge in the spontaneous approach she takes in creating her large scale ‘abstractions’. “I do not paint images, the paintings are improvisational, I bring everything from my life experience and knowledge to the work. I set up limitations to create within, it is a way to frame the work, to guide it into an area of interest, a subject emerges within these constraints.”
From Lens to Eye to Hand reexamines this important movement in contemporary art that found its roots in the late 1960s in California and New York and continues today. Photorealism reintroduced what many considered to be straightforward representation into an art world more attuned to the burgeoning conceptual framework of artistic practice coming out of Pop and into Minimalism, Land Art, and Performance Art. Often misunderstood and sometimes negatively criticized as being overtly tradition-al, these artists were, and are, trailblazers.
Questions by Emily Burns
Thanks so much for taking the time to chat about your work and recent projects. Congrats on the recent showing of your animation Chromacity at Art Basel in Miami. The projection was 7,000-square-feet on the exterior wall of the Frank Gehry-designed New World Center in Miami Beach, Florida. Is that the largest projection of your work at this point? What is it like to have your work in such a highly visible, publicized space, in such a big way?
Thanks. Yeah, I suppose that’s the biggest I have ever had my animations projected. I love having the work in public places. There’s such a different feel and reaction to it than in the gallery. I’m so happy when my work is able to reach beyond the gallery-goer and to the person on the street who may not be intending to see art during their day. I’ve been fortunate enough to show the animations in places like Times Square, Eventi Plaza, Sundance and even on buildings in Australia. To me, it’s very exciting for my work to be seen in such diverse places.
Exhibiting Artists Derrick Adams, Sanford Biggers, Caroline Wells Chandler, Adam Frezza/Terri Chiao, Brad Kahlhamer, Jon Kessler, LoVid, Jason Middlebrook, Rebecca Morgan, Carlos Rolón/Dzine, and the CMA Permanent Collection
Children’s Museum of the Arts is pleased to announce Maker, Maker, a group exhibition curated by Paul Laster and Renée Riccardo that explores the recent explosion of D.I.Y. Maker culture and the expanding relationship between fine art and craft.
RICO GATSON: Icons 2007 - 2017
"When elevating a human subject to sainthood or, at least making them an object of veneration, an artist needs to consider practically how it is that light or beams of pure energy will emanate from their being. Rico Gatson’s exhibition Icons 2007–2017 is just such an exercise in catapulting the human into the supernatural realm. We are watching an artist doing what artists do best: rendering the unimaginable into the visual and the unspeakable into human terms."
How Radical Can A Portrait Be?
"Icons, a solo exhibition of recent works on paper by the artist Rico Gatson, curated by Hallie Ringle, takes this ecstasy in personhood and makes it as visible as people themselves. Gatson appropriates old photographic images of famous black Americans—Zora Neale Hurston, Gil Scott-Heron, Nina Simone, Marvin Gaye—and surrounds them with bright, colorful lines that shoot outward from the personages to the borders of the page."
Sophia Contemporary is proud to present Shifting Landscapes, a group show of contemporary American artists exploring abstraction through painting, photography and sculpture. Featuring six artists - Afruz Amighi, Iva Gueorguieva, Herman Mejia, Amir Nikravan, Holton Rower and Hannah Whitaker - the exhibition reflects on the evolving nature of American art. Casting a light on the diversity of contemporary approaches to abstraction, the works explore the artists’ impact on the landscape of art and American culture, across generations and disciplines.
Through a variety of points of view and artistic practices, Shifting Landscapes provides a window into contemporary abstraction in America today. Issues of contemporaneity, materiality and historic legacy in a post-modern world unite the artists exhibited despite their differing artistic strategies, points of references and media of predilection. On a broader cultural level, the exhibition examines the multicultural nature of America at a time of division and isolation within the country. Many of the artists in the show live and work in the US, but were born in other countries including Iran, Bulgaria and Venezuela. By reinterpreting American abstraction through the prism of their own varied cultural backgrounds and artistic heritage, the artists urgently reaffirm the diversity and openness in American culture, at a pivotal point in the nation’s history.
by Robert Hobbs
The most comprehensive retrospective exhibition of works on paper by the Abstract Expressionist Hans Hofmann is now on view at Museum of Contemporary Art Jacksonville, a cultural institute of the University of North Florida. Curated by Wall Street Journal contributor Karen Wilkin and Marcelle Polednik of the Milwaukee Art Museum, this survey of 80 multimedia works, spanning the half-century from about 1914 to 1965, is an entrancing celebration of the thoroughly energized, richly hued works.
German-born Hans Hofmann (1880-1966) was the first person to formulate a set of principles for understanding modern art, making him one of the century’s most important teachers. He based them on his intimate acquaintance with Fauvism, Cubism and its lyrical offshoot, Orphism, while in Paris from 1905 to 1913, and years later, while back in Germany, with Surrealism.
by Annie Block
Not one, not two, but three. That’s the number of new buildings in downtown Miami by Arquitectonica International Corporation and the Related Group that also feature large-scale works by world-renowned artists.
SLS Lux, the latest evolution of the brand—and the most VIP—opens in the fall, with hotel rooms and residences by Yabu Pushelberg, an LED facade by Ana Martinez, and an exterior mural by Fabian Burgos. Burgos’s work appears again on Brickell Heights, a two-tower condominium bowing in May with interiors by Rockwell Group. The hotel rooms and residences in the last of the trio, SLS Brickell, are open for business. Philippe Starck handled the interiors, and Markus Linnenbrink was commissioned for the exterior, emblazoning 40,000 square feet of the concrete facade with his signature drip painting.
by Will Heinrich
Suzanne Caporael’s latest paintings — she numbers them sequentially, with the current show’s being in the low 700s — are divided into flat, irregular blocks of deep color with slightly blurry edges. The blocks themselves might pass for recessive Rothkos, pulling in a viewer’s gaze instead of glowing out to meet it. But the compositions as a whole look more like rice paddies at night. They’re distinctly horizontal in effect despite hanging on the wall, and the narrow boundaries between colors have all the silent force of property lines.
ORLANDO, FLA.- The Mennello Museum of American Art is presenting the solo exhibition Bo Bartlett: American Artist. The exhibition, which runs through May 7, presents large-scale oil paintings that are figurative, psychologically imbued, beautifully rendered, and wonderfully sublime by one of the most significant American Realist painters of his generation.
Bo Bartlett is widely renowned for his multi-layered complex image making rooted in narrative, story telling, art history, literature, poetry, and every day life. Bartlett works in a long-established tradition in American painting that stretches from Thomas Eakins and Winslow Homer to Edward Hopper and Andrew Wyeth. Like these artists, Bartlett looks at America's land and people to depict the beauty he finds in everyday life. His paintings celebrate the underlying epic nature of the commonplace and the personal significance of the extraordinary. Of Bartlett’s work, Andrew Wyeth wrote, “Bo Bartlett is very American. He is fresh, he’s gifted, and he’s what we need in this country. Bo is one of the very few I feel this strongly about.”
by Paul Laster
With two major art fairs taking place at the same time (April 6–9) on two different continents what’s an art lover to do? You either rack up some more airline miles, cash in your frequent flyer award points or do what we like to do—view Whitehot’s curated selection from each of the fairs online and then imagine that you can take home whatever your heart—and eye—desires.
The Dallas Art Fair returns to the Fashion Industry Gallery for its ninth edition with a formidable list of exhibitors—including Gagosian Gallery, Simon Lee Gallery and Skarstedt Gallery, Shane Campbell Gallery, and Lehman Maupin, which are all new to the fair this year. With more than 90 galleries from 16 countries, this year’s show looks like it could be its best.
Amongst our favorite artworks being exhibited here are Marc Dennis’ realistic still-life painting of luscious flowers at Dallas’ Cris Worley Fine Arts, Francis Upritchard’s gesturing bronze figure at London‘s Kate MacGarry, Jason Middlebrook’s geometric abstraction on an elm plank at New York‘s Ameringer McEnery Yohe, Luis Gispert’s abstraction made by embedding gold chains in a field of black stones at Palma de Mallorca’s Lundgren Gallery, and Klara Kristalova’s ceramic sculpture of animals in a tub at Lehmann Maupin, with galleries in New York and Hong Kong.
Christopher Grimes Gallery is pleased to announce a solo exhibition of new works by Kevin Appel. Appel’s new series of paintings begin as primary arrangements: cut-out paper forms referencing the portholes of Jean Prouvé’s Maison Tropicale are combined with Appel’s own photographs of fragments of his previous works, landscapes, and images of Paolo Soleri’s Arcosanti. These forms are constructed into soft, sculptural collages on the studio wall that are photographed at close range and then printed onto canvas. Multiple layers of geometric and gestural marks are silkscreened and hand painted over these flattened images creating a rhythm within the painting while obfuscating the original subject matter. Appel’s paintings are prismatic collages, an investigation of new and old imagery engaged in a recursive conversation where images and forms are pulled from one canvas and used in another, their intersection hinting at a controlled collapse of utopian ideals.
Par Lisa Vignoli
LES BON TITRES ONT PLUSIEURS VIES. L'amour des commencements, texte du psychanalyste français Jean-Bertrand Pontalis (1924-2013) datant de 1986, par exemple, renaît ces jours-ci—en anglais—dans une galerie parisienne avec l'exposition « Love of beginnings ». L'artiste israélien Guy Yanai a découvert cet ouvrage il y a une dizaine d'années. Depuuis, il a lu tout Pontalis, ou presque. Le plasticien affiche d'ailleurs, au fil de ses œuvres, une passion française, qui transparaît dans l'exposition. « Ça flirte avec l'obsession, sourit-il, mais pas seulement. Il y a sans doute quleuqe chose de l'ordre de la frustration, de la jalousie. Je ne serai jamais un Européen. Pourtant, tout ce qui m'intéresse du point de vue esthétique, intellectuel ou artistique vient de là. »
David Allan Peters : Sheathes
Film by Eric Minh Swenson
by Andie Cusick
The Love of Beginnings book was actually given to me by a shrink that I was talking to years ago, like maybe over ten years ago,” says Israeli artist Guy Yanai, whose latest exhibition of the same title was influenced by JB Pontalis’ autobiography.
It was strange to get a book from her, and even stranger that the book had tons of highlights and notes all around it. As if I could see and hear her reading it. I remember reading it so slowly,” he adds. “What struck me the most (and resonated) was the non-linear fashion of the autobiography—these sort of black holes that appeared between periods of his life. I think that there a few of these black holes between the three paintings of this show. Maybe this show is the beginnings that remain between each of the works, maybe not.”
by Hind Berji
At first glance, Bo Bartlett‘s work doesn’t look like anything new. His large canvases are filled with the crisp realism of Edward Hopper, the small-town iconography of Norman Rockwell, and the vibrancy and luminism of George Caleb Bingham. Yet, Bartlett brings it all together to portray a fresh and complicated take on American life as he knows it. Organized by the Mennello Museum of American Art with an extension of four paintings at The Orlando Museum of Art, Bo Bartlett: American Artist features the seductive quality of oil paintings, which stems partly from his large canvases and polished aesthetic. His paintings are subdued with a warm light that looks like the most natural thing in the world—a fleeting, bittersweet, transitional light that falls on his characters.
On Saturday 25 February, the Kunsthal Rotterdam is opening the exhibition ‘Hyperrealism - 50 Years of Painting’, a unique overview of photorealistic painting. Three generations of American and European artists illustrate the history of this fascinating, figurative art movement. With this retrospective, which includes 70 works by more than 30 artists, the Kunsthal is bringing an unparalleled collection of hyperrealistic masterpieces to the Netherlands.
Jackie Gendel (b. 1973, Houston, TX) received her BFA from Washington University, St. Louis, in 1996 and her MFA from Yale University in 1998. Recent exhibitions include Thomas Erben, New York; Jeff Bailey, Hudson; and Loyal Gallery, Malmö. Reviews of her work have appeared in Modern Painters, Artforum, Art in America, New Yorker, and Hyperallergic, to name a few. Gendel lives and works in Brooklyn, New York.
Franklin Evans creates painting installations with the artist’s studio as subject. He lives in New York. He has exhibited institutionally at MoMA PS1, The Drawing Center, El Museo del Barrio, deCordova Sculpture Park and Museum, RISD Museum. Awards include MacDowell Fellow; Yaddo Fellow; The Marie Walsh Sharpe Space Program; LMCC Workspace; NYFA Fellow Painting; Pollock- Krasner Foundation. He is represented by Ameringer McEnery Yohe in Chelsea. Jennifer Samet is a New York City-based curator and writer. She teaches art history at The New York Studio School and The New School, and is the author of the popular column "Beer with a Painter," in Hyperallergic. She is also the co-director of Steven Harvey Fine Art Projects, in the Lower East Side. WEDNESDAY, MARCH 1, 2017
New York Studio School of Drawing, Painting & Sculpture
8 West 8th Street, New York, NY 10011
Lectures begin at 6:30 pm. Lectures are free and open to the public. Seating may be limited.
On view in the GAR Gallery
Opening Reception: Saturday 4 March, 6 to 9pm
Featured artists: Mequitta Ahuja, Angela Dufresne, Hannah Rose Dumes, Dana Frankfort, Iva Gueorguieva, Kelly Klaasmeyer, Melinda Laszczynski, Tiffany Livingston, Dona Nelson, Gael Stack, Kelli Vance, Hilary Wilder
Galerie Derouillon is pleased to present the second solo exhibition of the painter Guy Yanai in Paris.
Opening reception: Thursday 16 March, from 6 to 9pm.
Beginnings have a personal resonance for Yanai. He has spent his life starting over, moving between continents and across countries--new friends, new home--finally coming full circle and settling where his journey first began, in Israel, the land of the displaced. But even there he remains a foreigner, ensconced in his studio on a shady street in south Tel Aviv, rootless and moveable as the potted plants he often likes to paint. Far from disorienting, this outsider’s gaze is the perfect position for a painter who loves to look.
Love of Beginnings is Yanai’s second solo exhibition at Galerie Derouillon. At the centre of the show are three oil paintings, arranged in no particular order or sequence. Club Med Serre Chevalier (2017) depicts a resort in France, based on photographs taken by tourists and posted to Tripadvisor. Kitchen (2016/17) is a view of the artist’s apartment in Tel Aviv. The Piano Lesson (2017) is Yanai’s transcription of Matisse’s painting of the same title from exactly 100 years ago.
Beverly Fishman creates powerful abstract paintings that address technology and the pharmaceutical industry. Fishman lives and works in Detroit, where she teaches painting at the Cranbrook Academy of Art. She spent a sabbatical in New York last year, and late in the summer I had the opportunity to visit her in her studio. Fishman spoke at length about drugs, systems of dependency, and the insidious nature of healthcare in America. While I had prepared to discuss her geometric abstractions, her candor came as a surprise. The country’s current discourse on healthcare give her paintings particular significance. We remain one of the few industrialized nations without universal healthcare. With the election of Donald Trump, Republicans stand poised to repeal the Affordable Care Act. Furthermore, many American citizens take a cocktail of prescription and illicit drugs to simply feel normal.
Fishman is a painter with the concerns of a sculptor, making paintings that require high levels of production. Her studio practice includes manufacturing uniquely shaped supports and consulting with automotive paint specialists to get the background she needs to achieve industrial finishes. Fishman’s solo exhibition “DOSE,” curated by Nick Cave, opens Thursday at the CUE Art Foundation in New York, where it is on view through April 5.
by Eric Sutphin
As I waited in the lobby of the Experimental Theater to see Juliana May's Adult Documentary (2016), amid a scrappy installation by Franklin Evans composed of paper detritus and neon tape, I felt unmoored, uninitiated. Had I not read enough Butler or Sedgwick or Baldwin to fully understanding the goings-on? Has realness become institutionalized as yet another countercultural phenomenon that has been converted into an academicized aesthetic proposition? Sound bites from the crowd began to tell me a thing or two. A young woman behind me said to a well-known choreographer: "I just wrote about you in my grad school application . . . I mean, I don't even know if I want to go to grad school, but it's, like, so hard out here." Shortly after, a refined young man said to the same choreographer: "My adviser told me to just sit down and make sentences. So I did that and, you know, walked away with a PhD." This account of academic achievement, despite its shoegaze simplicity, seemed like rather sound advice to a choreographer (or critic). Though May's piece seemed milquetoast and insular (full as it was of inside jokes about dance that made the dance-world folks in the audience chuckle to themselves), it became clear that a venture like American Realness is absolutely vital. The conversation and kvetching (and posturing and flattering) that was going on before the doors opened galvanized the spirit of realness, which at its best foregrounds both attitude and inclusion. In a political moment where feelings of anger, alienation, and profound uncertainty are reinforced daily, American Realness continues to be not only an outlet, but a lifeline.
Today’s show: Randy Dudley’s solo exhibition is on view at Ameringer | McEnery | Yohe in New York through Saturday, February 11. The show presents recent drawings by the Illinois–based artist.
by David Ebony
While a younger generation of artists, led by Katharina Grosse, Carol Bove, and others, are finding renewed significance and surprising rewards in extemporaneous abstract painting and sculpture, certain veterans like Emily Mason never lost faith in its limitless possibilities. Mason is heir to a long lineage of artistic forebears, perhaps most notably her mother, Alice Trumbull Mason, who was a founding member of the American Abstract Artists group in the mid-1930s. Emily’s childhood memories include visits from Mondrian, and watching Miró paint in a studio adjacent to her mother’s. Painting was in her blood, but she diverged from her mother’s penchant for hard-edge abstraction, and instead gravitated in the 1950s toward a more informal, intuitive process centered on color relationships and fluid gestures, which she has been developing and refining ever since. Her expansive and elusive compositions in some way establish a vital link between Abstract Expressionism and Color Field painting.
by Peter Malone
Emily Mason, a painter whose work represents both a unique marriage of understatement and gestural expression and a union of vibrant color and minimalist reserve, receives an examined look at her recent work at Ameringer | McEnery | Yohe Gallery.
Measured by Mason’s simultaneous participation in the “Inventing Downtown” show at NYU’s Grey Art Gallery—a show about artist-run galleries in the early 1950s—the artist’s career has been built on decades of developing a painterly language loose enough to allow multiple voicing, yet purposeful enough to assert a lone sensibility.
By Matthew J. Palm
Waves crash. The skeleton of a huge ship rises through scaffolding. Fishermen haul in their catch. Shoreline plants take on a delicate purple hue.
These are images of Maine, and the Pine Tree State is at center stage in the latest exhibition at Orlando Museum of Art.
The Wyeths and American Artists in Maine” will be on view through April 23. It’s a chance to see works by three generations of the famed Wyeth family of artists — N.C., Andrew and Jamie — as well as others. The exhibit is also a chance to reflect, or learn about, the significance of that northern neck of the woods to the visual arts.
by Charlie Patton
Though he is considered one of the pioneers of abstract expressionism, during his long career the German-born painter-turned-U.S. citizen Hans Hofmann embraced many styles.
Born in 1880, he was first drawn to Impressionism. He then spent time in Paris in the early 1900s where he befriended Pablo Picasso, Georges Braque and Henri Matisse and embraced such movements as Cubism and Fauvism.
You can’t characterize him with one individual style,” said the Museum of Contemporary Art Jacksonville’s curator Jaime DeSimone. “He reinvented himself time and time again.”
by Lilly Lampe
There is perhaps no genre in painting today more unassuming than the floral still life. Even at the height of Western genre painting, which reached its apogee in Northern Europe in the 16th and 17th centuries, the still life was considered to be the lowest within the hierarchy of painting, far behind history painting, landscape, and portraiture. Though the modernists played with vases and flowers, distorting them into Cubist near-abstractions, or incorporating collage in ways that were revolutionary at the time, still life innovation may have peaked in that era. But perhaps, in the current arena of painting, the very act of still life painting can be transgressive, a flagrant rejection of other popular tropes. As such, the gusto of More at Mrs. Gallery in Maspeth, Queens — a two-person show featuring paintings by Sarah Bedford and Tracy Miller — is at once daring and sweet, both a refreshing revitalization of the still life as subject matter, and a cheery antidote to the doldrums of so many other painting trends.
BRATTLEBORO — Vermont artist Wolf Kahn has reaped many awards in a life as colorful as his work, but the 89-year-old just traveled to Washington, D.C., to receive his first medal. “It’s big and heavy, with a blue ribbon you can put around your neck,” he says. “I thought I was getting the Medal of Freedom the president gave to the vice president.”
Although Kahn didn’t win the same accolade President Barack Obama surprised Joe Biden with on Thursday, the master of vibrant oil paint and pastels received a hefty honor the same day: the U.S. State Department’s International Medal of Arts.
Ameringer | McEnery | Yohe in New York is hosting an exhibition of the works of artist Emily Mason, on view through 11 February 2017.
The exhibition presents a series of recent paintings by American painter Emily Mason (b. 1932). Known for works that celebrate the expressive possibilities of color, each painting by Emily Mason are impregnated with individual mood and captures specific emotional and chromatic temperature, invigorated with her nuanced touch. Sheets of vibrant hues with varying density fill across her canvases, as flat expanses merge with delicate clusters of pigment, creating deceptively complex compositions. Over six decades, the artist has explored through her distinctive style of lyrical, luminous abstraction, which reflects through her paintings executed in oil, carrying a sense of intriguing intimacy combined with uncompromising yet gentle intensity.
The Fountainhead Residency provides artists an environment to create, converse, inspire and be inspired outside of daily routines and traditional confines of their home life. From the moment artists arrive they’re immersed in the visual beauty of Miami and the color and depth of the local community. In addition to creating work while at The Residency; artists attend openings and talks, visit museums and galleries, and receive vital feedback from art professionals through one-on-one studio visits and public open houses.
When a call went out online recently for an art world protest strike — “no work, no school, no business” — on Inauguration Day, more than 200 artists, most based in New York, many well known, quickly signed on. In numbers, they represent a mere fraction of the present art world, and there was reason to expect the list would grow. By contrast, in New York in the 1950s, 200 artists pretty much were that world, and one divided into several barely tangent circles.
That era’s cultural geometry has been badly in need of study, and now it’s getting some in a labor-of-love exhibition called “Inventing Downtown: Artist-Run Galleries in New York City, 1952-1965,” at the Grey Art Gallery at New York University. With nearly 230 objects, it’s big and has its share of stars. But it’s not a masterpiece display. It’s something almost better: a view of typical — rather than outstanding — art, of familiar artists looking unfamiliar, and of strangers you’re glad to meet. It looks the way history looks before the various MoMAs get their sanitizing hands on it: funky, diverse, down to earth, with things to teach us now.
Royale Projects is proud to present a solo exhibition of new works by Los Angeles artist David Allan Peters from 22 January to 31 March 2017. There will be an open house from 12 to 5 pm on Sunday, 22 January 2017.
Julio Larraz, extraordinary draftsman, painter and sculptor, is the quintessential embodiment of the post-World War II Latin American artist. Unmasking the angst of humanity, he sets out a new reality and politically conscious self-identity for existence in the modern world. His contribution to Western art, like that of the “boom” generation of Latin American writers, is a new kind of portraiture, which co-opts the conventions of the genre and transforms them into multilevel sociological and historical allegories.
Opening Night Reception: Friday 20 January, 5pm to 7pm
Lecture: "Julio Larraz: Painting in Time and Space" Carol Damian, Ph.D. Friday 10 February, 5pm to 6:30pm
Museum of Art - DeLand 600 N. Woodland Boulevard DeLand, FL 32720
The Medal of Arts award was initiated by Art in Embassies in 2013 to formally acknowledge artists who have played an exemplary role in advancing the U.S. Department of State's mission of promoting cultural diplomacy.
The exhibition presents large-scale oil paintings that are figurative, psychologically imbued, beautifully rendered, and wonderfully sublime by one of the most significant Realist painters of his generation. Bo Bartlett is an American realist with a modernist vision whose multi-layered narrative work falls within the tradition of American realism as defined by artists such as Thomas Eakins and Winslow Homer to Edward Hopper and Andrew Wyeth. Like these artists, Bartlett looks at America's land and people to describe the beauty he finds in everyday life. His paintings celebrate the underlying epic nature of the commonplace and the personal significance of the extraordinary. Of Bartlett’s work, Wyeth wrote, “Bo Bartlett is very American. He is fresh, he’s gifted, and he’s what we need in this country. Bo is one of the very few I feel this strongly about.”
Examining the New York art scene during the fertile years between the apex of Abstract Expressionism and the rise of Pop Art and Minimalism, Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965 is the first show ever to survey this vital period from the vantage point of its artist-run galleries—crucibles of experimentation and innovation that radically changed the art world. With more than 200 paintings, sculptures, installations, drawings, photographs, ephemera, and films, the show reveals a scene that was much more diverse than has previously been acknowledged, with women and artists of color playing major roles. It features works by abstract and figurative painters and sculptors, as well as pioneers of installation and performance art. Artists range from well-known figures such as Jim Dine, Red Grooms, Allan Kaprow, Alex Katz, Yayoi Kusama, Claes Oldenburg, Yoko Ono, and Mark di Suvero, to those who deserve to be better known, including Emilio Cruz, Lois Dodd, Rosalyn Drexler, Sally Hazelet Drummond, Jean Follett, Lester Johnson, Boris Lurie, Jan Müller, and Aldo Tambellini.
Inventing Downtown is curated by Melissa Rachleff, clinical associate professor in NYU’s Steinhardt School.
Abrons Arts Center, Main Gallery 466 Grand Street / FREE
Franklin Evans creates painting installations with the artist’s studio as his subject. Evans collaborated with Trajal Harrell on the scenic design for Twenty Looks or Paris is Burning at the Judson church (S). American Realness 2017 presents the release of the digital publication of Trajal Harrell’s Twenty Looks or Paris is Burning at The Judson Church (XL). The release is accompanied by an installation, entitled XLtime, created by visual artist Franklin Evans made in collaboration with (XL).
by Roger Catlin
Gene Davis spent his career in newsrooms from the Washington Daily News to United Press International to the Fredericksburg Freelance Star, and even served a stint as a New York Times copy boy.
And while he took up abstract painting in the 1940s as a hobby, and was featured in a few local shows, he was never successful enough to devote his full time to art until, after 35 years in journalism, he finally turned to it 1968.
by Janet Batet
Julio Larraz (Havana, 1944) is known for a distinctive, almost metaphysical approach to painting and composition. On the occasion of Made in USA, his recent exhibition at Miami’s Ascaso Gallery, Janet Batet pondered the enigmatic, inviting character of Larraz’s vision and his art.
Todd Hebert is a graduate of the University of North Dakota (BFA) and The Rhode Island School of Design (MFA). His work has been featured in public museums and private galleries nationwide, including The Contemporary Art Center of New Orleans, Pepperdine University, The Riverside Art Museum and the Carpenter Center at Harvard University. A recent survey exhibition of Hebert’s work was mounted at the North Dakota Museum of Art and his work is included in numerous public collections including the Los Angeles County Museum, The Museum of Contemporary Art, San Diego, The Museum of Fine Arts, Houston, and The Frederick R. Weisman Collection.
Opening: Friday 11 November, 6 to 8pm
Artist's talk: Saturday 12 November, 12pm
Brightly colored stripes multiply in rhythmic repetitions across the surface of a painting by Gene Davis. Remarkably original when they first appeared in the 1960s, these paintings became the signature expression for one of the leading Color Field painters. With no more than a rectangular canvas and multicolor stripes, Davis created a richly varied body of work that looks as fresh today as it did when it first was shown. The large size of most of his canvases from the 1960s requires a viewer to consider the relationships and rhythms over time, more like a musical composition than the dynamic, colorful, pop art images that emerged at the same time.
We are pleased to announce that two paintings by Rod Penner are featured in the exhibition FOTOREALISMUS: 50 Jahre hyperrealistische Malerei (PHOTOREALISM: 50 Years of Hyperrealistic Painting), at Osthaus Museum Hagen in Hagen, Germany.
The exhibition Creation in Form and Color: Hans Hofmann is a collaborative project by the Berkeley Art Museum, the Pacific Film Archive at the University of California (BAMPFA), and the Kunsthalle Bielefeld. It is based on a precise selection of approximately 60 paintings, watercolors, and drawings that span the artist’s entire career from the 1920s to the early 1960s. The show includes works on loan from the Berkeley Art Museum, as well as from prominent American and European museums and private collections. One of the exhibit’s particular goals is to examine Hans Hofmann before the backdrop of his European tradition in his role as an important artist and teacher of 20th century American modernism. Additionally, the show weighs his exploration of his experiences and influences in his chosen homeland of America, while simultaneously emphasizing his theories and work, which made him an especially significant artistic mediator between the continents. Despite his fundamental importance to the development of modern art in America—where prominent exhibitions were devoted to him during his lifetime—Hofmann remains less well known in Germany and Europe as a member of the Modernist avant-garde.
Sunday 6 November, 4 PM
195 Chrystie Street, New York, NY 10002
Please join 11R for a conversation between artists Douglas Melini and Brian Alfred with curator Daniel S. Palmer, on the occasion of Melini's current exhibition at the gallery, You Have To Peer Into The Sky To See The Stars.
by Cate McQuaid
We know painter Wolf Kahn for radiant colors and landscapes that are more about formal and tonal relationships than they are about place. But in the 1960s, Kahn dwelt in the shadows. His paintings from that period make up the last exhibition at modernist gallery ACME Fine Art, closing its doors after 15 years. Owners Jim Bennette and David Cowan will continue their art-consulting business.
Markus Linnenbrink to install a 7 x 90 foot epoxy resin painting in the Concourse Lobby of 75 Rockefeller Plaza in New York, New York in early 2017.
Iva Gueorguieva in conversation with Dona Nelson at Ameringer | McEnery | Yohe
We are pleased to announce that a work by John Sonsini—Byron & Ramiro, 2008, Acrylic on canvas—is presently installed in Human Interest: Portraits from the Whitney's Collection, on view at the Whitney Museum of American Art through 12 February 2017.
As a Hollywood special effects artist, Patrick Lee has worked on such films as "Armageddon" and "Day Before Tomorrow."
But perhaps his greatest illusion is when Lee picks up a graphite pencil and draws a face.
You can see Lee's mind-blowing photo-realistic portraits in the "Deadly Friends" exhibit now up at the Huntington Museum of Art as the internationally known and shown L.A.-based Lee is the Walter Gropius Master Artist in October.
The fortysomething Montana-born, and Minneapolis College of Art & Design educated artist speaks about his work during a free public presentation at 7 p.m. Thursday, Oct. 13.
Lee will stay up on the hill this weekend to present a three-day workshop at HMA titled "Drawing Realism" from 9 a.m. to 4 p.m. Friday through Sunday, Oct. 14-16. Visit www.hmoa.org or call 304-529-2701 for workshop fee information or to register.
An exhibit of work by Lee continues on view at the Huntington Museum of Art through Dec. 30.
Stark Naked: Uncovering Bodies, Objects, and the Futility of Desire Curated by Robert Moeller Pop-up exhibit showing 37 artists in 6 curated spaces
With curated spaces by: J.R. Uretsky Franklin Evans Lillian P.H. Kology Sam Toabe Gabriel Sosa
EDDYSROOM is pleased to announce the opening of its eleventh show: Room With A View. Room With A View is a group show of landscape/nature-themed works. We are excited to include the works of Erik Parker, Hein Koh, Shara Hughes, Cody Hudson, Kevin McNamee-Tweed, Hilary Baldwin, and Brian Alfred in the exhibition.
Isca is our seventh subject in a new SLICE Special Guest Series which introduces our readers to extraordinary, creative people ⎯ wherever we may find them.
Isca Greenfield-Sanders is an artist based in New York City. Her large scale mixed media oil paintings are found in the public collections of the Solomon R. Guggenheim Museum; Brooklyn Museum; Museum of Fine Arts (Houston); Victoria and Albert Museum (London); and Fine Arts Museum of San Francisco. Isca’s solo exhibitions include Haunch of Venison, New York and London; John Berggruen Gallery, San Francisco; Galerie Klüser, Munich; and Baldwin Gallery, Aspen. Her upcoming solo show will be at Ameringer Mcenery Yohe, New York in 2017. Isca has been featured in a wide range of publications, including Artsy, Art in Print, Modern Painters, Huffington Post, Artnet Magazine, ARTnews, Vanity Fair, The New Yorker, ARTFORUM, and Time Out New York. She graduated from Brown University with a double major in fine arts and mathematics. In 2001 Isca was a visiting artist at the American Academy in Rome. When she’s not working, you can find her with her husband, the painter Sebastian Blanck, and their two sons. Isca lives and works in New York City’s East Village.
Hans Hofmann’s famous phrase “push and pull” is most often associated with his signature works of the 1950s and 1960s, in which bold color planes emerge from and recede into energetic surfaces of intersecting and overlapping shapes. The ideas and impulses behind this enduring term, however, took shape decades earlier, in his teachings, writings, and in his own paintings. In the late 1930s, in a series of widely attended lectures in Greenwich Village, Hofmann demonstrated how to “push a plane in the surface or to pull it from the surface” to create pictorial space. “We must create pictorial space,” he declared to audiences of avid young artists and critics, including Arshile Gorky, Clement Greenberg, and Harold Rosenberg. Hofmann would later refine his definition of push and pull as “expanding and contracting forces...the picture plane reacts automatically in the opposite direction to the stimulus received; thus action continues as long as it receives stimulus in the creative process. Push answers with pull and pull with push.”
readingroomincolor” – a site-specific installation by Franklin Evans
American artist Franklin Evans will present a site-specific installation at CROSSROADS. His work is influenced by the architecture of the space, inspiring the form and space that he, in turn, will present to the viewer to engage with. Evans, who trained as a painter, is interested in materiality and incorporating paintings into an environment. His immersive works are built from amassed art supplies and materials found in his studio space—including artists’ tape adhered to the walls, floor and ceiling, bubble wrap, old newsprint, un-stretched canvases and press releases from gallery exhibitions.
The breakthrough success of Lawrence van Hagen’s What’s Up, held in London earlier this year, underlined for its young curator the need for more global surveys of emerging and established contemporary artists.
What’s Up 2.0, the second of Lawrence’s ambitious series of shows, opens a week before Frieze Art Fair. With the kind support of House of the Nobleman, Susanne van Hagen, and Amazon property, What’s Up 2.0 will exhibit its dynamic range of artists to collectors from the capital, as well as art aficionados from all over the world.
I had a great conversation with American figurative artist Bo Bartlett. Bo’s paintings have a deep emotional and spiritual impact. He’s been painting for the last 40 years and it shows. Bo is highly revered and his work is collected around the world in private collections and museums. This is a long conversation and as we got deeper into it Bo talked about his experience of life and death and the underlying philosophy of his work and life.
Rachel Beach, Lisa Beck, Nuno De Campos, Stacy Fisher, Rob Fischer, Sophia Flood, Halsey Hathaway, Andrew Prayzner, Oliver Jones, Matthias Neumann, Carolyn Salas, David Schafer, Greg Simsic, Richard Tinkler, Austin Thomas
Curated by Björn Meyer-Ebrecht
Opening Reception: Thursday, 29 September 2016, 7 - 10pm
Open during Bushwick Open Studios 2016: Saturday / Sunday, 1 - 2 October 2016, 12 - 7pm and by appointment
Björn Meyer-Ebrecht's Studio 1182 Flushing Avenue, 2nd floor, Brooklyn, NY 1123
by Leah Ollman
Amy Bennett makes paintings that call little attention to the elaborate process of their creation, but what may seem like conventional landscapes come with a back story that gives us far more to absorb and ponder than what’s visible on the wall.
For "Small Changes Every Day," her recent series at Richard Heller Gallery in Santa Monica, Bennett started with an 8-by-8-foot hunk of plastic foam and built a model of an undisturbed patch of verdant terrain. She painted a portrait of the land as seen from above, a handsome Eden dotted with ponds and etched with streams.
Three currents merge and reconfigure in Julio Larraz’s work—as do the waters of rivers, clouds, and ice he often paints—and these are: still-life turned into theater, theater seizing the moment in rebellion against plot, and character defying its persona. The three currents together articulate this great artist’s enduring primary concern: the representation of mystery escaping resolution to become the hedonist’s enigma, an inexhaustible, celebratory insistence on the imagination’s life in the luminous moment.
WORKSHOP: 9am to 4pm, 14 Oct. – 16 Oct. 2016 PUBLIC PRESENTATION: Thursday, 13 Oct. 2016, 7pm EXHIBITION: 24 Sep. – 30 Dec. 2016
During this workshop, Patrick Lee will share the specific techniques he uses to achieve a photorealistic look in the portraits he creates. He will teach other artists who are looking to accurately capture an individual or an object how to use pencil (graphite). Lee will explain his process, from approaching individuals on the street and photographing them to editing images and choosing what will hopefully be a compelling composition. In addition he will tell the stories behind his drawings in the gallery and help participants focus on how to pick subjects to draw. Drawings will be based on photographs the participants provide and will take shape over the three days of the workshop.
by Danielle Tcholakian
SOHO — Vesuvio Playground will double as an art gallery for the month of October, featuring a mural project by downtown-based artist Isca Greenfield-Sanders — and the help of more than 200 local kids.
The installation, entitled "Playground Parachutes," includes four large-scale murals that Greenfield-Sanders gridded into 72 square tiles printed in four basic colors: blue, pink, yellow and black.
Teaching artists at the Children's Music of the Arts (CMA) in Hudson Square took the tiles and helped more than 200 children fill them in with colored pencils, before returning them to Greenfield-Sanders so she could reassemble into four parachute images.
Amy Bennett's current exhibition at Richard Heller Gallery, entitled "Small Changes Every Day," is her first solo exhibition in four years. Featuring all new works, Bennett's dreamlike scenes depict a miniaturized world playing at reality.
Bennett designs and paints from miniature 3D models, allowing her total creative control of the scenes she imagines. She is able to manipulate composition, light, and vantage point, often in an attempt to simulate the inadequacies of memory, dreams, and the imagination.
ACME Fine Art is proud to announce the gallery’s Fall exhibition: WOLF KAHN: EARLY WORK. The exhibition will focus on a single decade of Kahn’s early career, the 1960s. This was an important decade in which Kahn’s work garnered the critical acclaim that helped establish his trajectory towards becoming one of America’s favorite contemporary landscape painters. The exhibition will feature fifteen works—fourteen oil paintings and one pastel—that demonstrate Kahn’s artistic arc during this pivotal decade. Many of the canvases have not been exhibited since the year that they were created. The show will open on Friday, 30 September, and run through 26 November, with an opening reception held Friday, 7 October from 6:00 to 8:00 in the evening.
by Juliet Helmke
If not for rapidly rising Brooklyn rents, Amy Bennett’s last series of paintings might never have come to fruition. “Space- and money-wise, my husband and I felt pushed out,” the artist, who earned her MFA at the New York Academy of Art in 2002, explains. Hunting for a new place to call home, the painter found herself spending hours “just image-searching specific towns and looking down at them in Google maps.” By the time the couple and their young son decided on Cold Spring, in Upstate New York, she “had the impulse to build my own town.” But for Bennett, that meant doing so at 1:500 scale, or what she calls “Monopoly size.”
Green Below 14 and SmartSpaces present Isca Greenfield-Sanders’ Playground Parachutes, in partnership with the Children’s Museum of the Arts (“CMA”) and NYC Parks, opening at 10:30 a.m. on October 1, 2016 at Vesuvio Playground in SoHo (corner of Spring and Thompson Streets).
The New York-based artist Isca Greenfield-Sanders transforms old slides by scanning and gridding them, and then applying multiple layers of watercolor, colored pencil, or oil paint. The resulting painting blends photographic and painted elements to reimagine scenes of beach vacations or Nantucket outings. With fuzzy figures and muddled blues, her painted imagery evokes a nostalgic air that tugs at the viewer’s memory and perception. Balance Point will be Greenfield-Sanders first solo show at Reynolds Gallery in Richmond, Virginia.
On the same block where Bo Bartlett’s first solo exhibition in New York opened 35 years ago, Ameringer | McEnery | Yohe is giving audiences a sneak peek into the much anticipated Bo Bartlett Center, set to open in Columbus, Georgia next fall. Journals, preparatory drawings, and palettes piled high with miniature cliffs of oil paint are just a glimpse of what Bartlett has donated to his center. The mid-career retrospective also features his latest work, along with his cache of props and ephemera, many of which are dutifully rendered in the works themselves. These freshly executed pieces hold fast to Bartlett’s endearing style of Realism with a curious twist. He proudly carries on the American lineage of Winslow Homer, Thomas Eakins, and Norman Rockwell, but there is an oddity about his works that creates psychological pause within the viewer, and sets him apart from the Realist tradition. In response, the term Magic Realism is being revived.
By Peter Plagens
What’s a realist painter to do? The skill of rendering on a flat canvas convincing portrayals of three-dimensional space containing objects and human figures is fairly common, especially in an age when photographic and digital aids are not only readily available, but—at least since the advent of Photorealist painting in the 1960s—immune from accusations of “cheating.” The problem for the hard-core figurative painter is how to stand out from the herd—how to give the viewer something more than the feeling of, “Wow, that looks so real.”
Bo Bartlett at Ameringer | McEnery | Yohe by John Thornton
Yunhee Min in conversation with Thierry de Duve at Ameringer | McEnery | Yohe
In 1934, a year after Hitler’s accession to power, the exiled German painter established his Hans Hofmann School of Fine Arts, on Fifty-seventh Street. It went on to become the clearinghouse of the first internationally successful generation of American painters. In the five succulent early works here, painted in Provincetown and predating Hofmann’s more familiar paintings of solid blocks of color, you can see him infusing his European inheritance (specifically, the jarring non-local color of Fauvism) with American verve. A studio interior, from 1936, has the bright blues and violets of Matisse, but the orange pigment of a chest of drawers bleeds past its contours, onto the wall and the floor, prefiguring a combustible abstraction of 1944, whose uncontainable splatters offered a new model of creation.
Guy Yanai to be featured in group show, THE TIES THAT BIND, at David Achenbach Projects outside of Düsseldorf, Germany.
Artists list: Georg Baselitz, Sam Francis, Gotthard Graubner, Daniel Heidkamp, Alex Katz, Rosy Keyser, A.R. Penck, Jon Pilkington, Kasper Sonne, Chris Succo, Norbert Tadeusz, Anke Weyer, Guy Yanai
Opening: Hans Hofmann at Ameringer | McEnery | Yohe
In a season dominated by group shows, here's a nice solo show of Hans Hofmann's work. Hofmann, the German-born and later New York-based artist, is best known for his abastract paintings that feature layered geometrical forms against non-figurative backgrounds. Having been one of Harold Rosenberg's favorites, he quickly achieved fame and went on to inspire many more. This show should be a nice, light survery of a big-name artist at a time when many other galleries have turned over their spaces to lesser-known artists.
Ameringer | McEnery | Yohe, 525 West 22nd Street, 6-8 p.m.
By Nina Azzarello
artist markus linnenbrink has installed a vibrant 40,000 square foot mural across the façade of miami‘s soon-to-be completed SLS brickell hotel and residences. best known for his signature ‘drip painting’ technique, linnenbrink has enlivened downtown’s monochromatic urban area with a colossal, chromatic landscape. commissioned by jorge m. pérez with the goal of giving the district a burst of color, the installation wraps the exterior of the architecture and sees vibrant stripes span from ground floor, to the building’s uppermost levels.
The Delaware Art Museum is pleased to present Truth & Vision: 21st Century Realism. On view October 22, 2016 – January 22, 2017, this exhibition surveys the state of representational painting at the beginning of the 21st century and features approximately 40 works by 20 contemporary realist artists from throughout the United States and Canada.
By John Seed
In early 1991, art critic Roberta Smith looked over Bo Bartlett’s painting God—a sweeping image of a black man, poised in front of a sweeping coastal horizon, wrapped in a quilt—and came slightly unglued. In her New York Times review of the exhibition she later wrote of the piece: “As consciousness raising, this is fairly simple-minded. As history painting, it’s idiotic.”
In the same column, Smith also dings Bartlett for his “conservative” artistic style (realism), dismissing his paintings as being “more trendy than timeless.” Smith’s comments, which generated a domino effect of subsequent negative reviews—by Peter Schjeldahl, Michael Kimmelman and others—re-shaped the arc of Bartlett’s career.
New York - Cara Gallery is pleased to present Relevant Notes, a collective exhibition that presents a dialogue between the work of 11 artists to explore the boundaries of disciplines among installation art, land art and architecture. Exhibiting in a wide variety of medias including installation, drawing, photography, painting and sculpture – each created over the past five decades - act as relevant notes to the testimony of the artists’ interpretation of the concept of human intervention. Studying their sustainability in the natural environment, these artists take the location and materials of their work into careful consideration using cultural, political and environmental histories to create art as a catalyst for change.
By John O’Hern
Andrew Wyeth wrote, “Art to me, is seeing. I think you have got to use your eyes, as well as your emotion, and one without the other just doesn’t work. That’s my art.” Writing about Wyeth just after his death, Bo Bartlett called his friend “…a Zen master. He was a contemplative. Regarding the patience it takes to discover a painting, he would sit for hours looking; he said, ‘If you sit long enough, the life will appear.” He has called Wyeth’s ability to see “a lost art. We’re scared of seeing. If we were to see the mystery of what all this is…it’s very overwhelming for our little brain.” He suggests that if we could slow down, and look, “we could, perhaps, if we’re lucky, tap into the great mystery.”
An exhibition, Omaggio a an Homage, of works by Julio Larraz at Contini Galleria d'Arte in Venice, Italy is on view from 18 June - 23 October 2016.
By Low Lai Chow
Now this is art that truly takes you places. Touted as "the world’s fastest art experience," the high-speed Genbi Shinkansen opened last month on the Jōetsu Shinkansen railway line.
By Chuck Williams
A portrait of a federal judge that Columbus artist Bo Bartlett worked on for almost two years was unveiled Thursday night in a Washington courtroom.
Following the success of the 2014 exhibition dedicated to the American hyperrealist sculptor Duane Hanson, the Museum of Ixelles presents PHOTOREALISM. 50 Years of Hyperrealistic Painting. This exhibition highlights the generation of hyperrealist painters after the Second World War. In the aftermath of Pop Art, the hyperrealists portrayed and criticized the American consumer society in a fascinating semi-photographic style.
By Vanessa Borge
MIAMI (CBSMiami) – It’s about a bold burst of color in Brickell!
World famous artist Markus Linnenbrink is working on his largest mural ever in Brickell’s South Miami Avenue.
Presented by the New York Academy of Art, “WATER|BODIES” is co-curated by artist Eric Fischl and Academy President David Kratz. Generously sponsored by Cadogan Tate, “WATER|BODIES” presents paintings, photographs and sculptures by established and emerging artists with connections to both the East End and the New York Academy of Art. Life on the South Fork of Long Island is based on and intrinsically connected to the water, and this show explores water, bodies and the inevitable meeting of the two. The works in this exhibition depict the sea, the shore, the pool, sunbathers and the nude as a lively and expressive genre that interweaves themes of natural beauty and the nature of pleasure.
Over 30 artists are featured in the show, with works from newly minted Academy MFAs hanging alongside pieces by artists such as Ross Bleckner, Patrick Demarchelier, Eric Fischl, Ralph Gibson, Isca Greenfield-Sanders, April Gornik, Michael Halsband, Enoc Perez, and David Salle.
By Bridget Gleeson
Yunhee Min is a master colorist whose signature works—often featuring geometric color blocks in rainbow hues—have graced museums and galleries across the country. Her latest paintings continue that exploration of color, this time for a solo show at Ameringer | McEnery | Yohe, the New York gallery now representing the Korean-born artist.
Min refers to these new paintings as “movements.” Musical terminology is certainly appropriate, since her works are ethereal and fluid, even rhythmic, like variations on a theme.
Movements: Liat Yossifor
Liat Yossifor’s first artist monograph focuses on a series of ever-evolving grey paintings she produced from 2011-2016. Employing a time-based process to create these works, she continuously scrapes, sculpts, and re-works the paint until it hardens on the surface. Of the works here, Yossifor has said, “The grey is so much more for me. The grey is the result of color being consumed, of constant editing. The grey is the result of a thousand paintings that got destroyed in the process of making a single one.” Yossifor was recently profiled by Modern Painters as an artist to watch for 2016 and this year has exhibitions in New York; Frankfurt, Germany; Guadalajara and Chicago. The book includes essays by Karen Lang, Christopher Michno, Stella Rollig and Ed Schad and was designed by award-winning Vienna-based graphic artist Peter Duniecki.
By Dan Golden
Yunhee Min is an artist based in Los Angeles. She is interested in painting as foremost a studio practice, where hands-on engagement with the material and the activity of making take priority. Although she has explored the cultural, social, and historical dimensions of signification of color in her previous work, she is currently interested in the potentialities of color as pure sensation.
Eric Green’s meticulously detailed drawings replicate life beautifully- but there is something off about them. “When you really begin to understand life, everything changes completely all the time. Nothing is ever the same again,” he says. Working primarily in colored pencil, Green draws images that are meant to change our perceptions by illustrating the subtleties between moments as light changes and objects are mysteriously moved by unseen occupants.
It's not impossible to master space and time, apparently. If you're artist Eric Green, all you need is some graphite and a nice set of colored pencils. Green's stunning Time Diptych and Mirrored Room series, on display at AMERINGER | McENERY | YOHE Gallery through May 21, distort the rooms in his house in a scrupilous interrigation of his own reality.
In cooperation with the University of California Berkeley Art Museum and Pacific Film Archive, Kunsthalle Bielefeld will present the exhibition Creation in Form and Color, dealing with the work of the German-born painter, Hans Hofmann. The exhibition opens at Kunsthalle Bielefeld on 5 Novemer 2016 and remains on view through 26 February 2017. It will travel to the Musee National d'histoire et d'art - Luxembourg and be on view from 28 September 2017 through 14 January 2018. A third venue for the exhibition will be announced.
Curated by Clemence Duchon & Flavie Loizon
Artists list : Mustafah Abdulaziz, Pierre Ardouvin, Tauba Auerbach, Rana Begum, Mohamed Bourouissa, Kadar Brock, Micky Clément, Petra Collins, Gregory Crewdson, Yanis Dadoum, Sam Durant, Antoine Espinasseau, Matias Faldbakken, Harry Gruyaert, Nils Guadagnin, Ren Hang, Laurent Kronental, Ulrich Lebeuf, Thomas Lélu, Thomas Mailaender, Ari Mar- copoulos, John Miller, Robert Montgomery, François Morellet, Julien Nédélec, Amanda Ross-Ho, Viviane Sassen, Taryn Simon, Tony Stamolis, Thomas Struth, Mika Tajima, Juergen Teller, Ed Templeton, Joep van Lieshout, Thomas Vergne, Adrien Vescovi, Johannes Wohnseifer, Guy Yanai
By Claire Voon
Japan’s major passenger railway company JR East has just launched what officials call “the world’s fastest art experience” with a traveling art gallery aboard one of its bullet trains, or shinkansen. Zipping at speeds up to 200 miles per hour, a train named “Genbi Shinkansen” on the Jōetsu Shinkansen line now holds a group exhibition of contemporary works by six Japanese artists, the Japanese collective Paramodel, and New York-based artist Brian Alfred.
Click on "Read More" to view John Sonsini interviewed on Telemundo 52
Guy Yanai featured in a group show, Bisou Magique, at Galerie Derouillon and curated by Yundler Brondino Verlag, Guy Yanai and Aurore Chauve's publishing house.
By Bridget Gleeson
Compared to solo exhibitions, group shows can seem unfocused—the artists arbitrarily arranged, their works adhering, however loosely, to a central theme. Not so with “Dynamic Pictorial Models,” at 101/Exhibit in Los Angeles. The show, featuring pieces by four artists, was specifically and intentionally planned down to the last detail.
By Dan Piepenbring
Eric Green has a new exhibition at Ameringer | McEnery | Yohe through May 21. Green’s two series, Time Diptych and Mirrored Room, use graphite grisaille layered with colored pencil and varnish to depict the almost imperceptible passage of time in various rooms in his home in Maine. “It is the amalgamation or comparison of the two images that creates the specific emotion, not each individual panel,” he wrote. “Gauging and balancing this convergence is everything.”
Eric Green’s current exhibition at Ameringer | McEnery | Yohe consists of six works all of which are colored pencil drawings on board. The most striking moments occur in the mirrored works: each panel contains two identical renditions of the same space with the upper half (the first drawing) in an upright orientation while the lower part (second drawing) is rotated by 180 degrees to form a mirrored counterpart to the upper half.
The Spanish-born artist Esteban Vicente, whose career spanned eight decades, seemingly did it all. Arriving in the U.S. in 1936, the artist was part of the first generation of the New York School Abstract Expressionists, held a teaching gig at Black Mountain College, and counted Willem de Kooning as a floor mate at his Tenth Street studio space.
By Patricia Ann Alvares
New York-based Portuguese artist Nuno de Campos created a series of portraits based on short stories and novels originating in Goa. This graphite on paper, titled, ‘Goans,’ currently on exhibit at MOG, represents one or more characters from each story. He recounts his fascinating discoveries to Café.
A solo exhibition, Fox Hill Road, of recent works by Guy Yanai will open at Rod Barton, Brussels on 19 April and be on view through 28 May 2016.
David Allan Peters’ hallucinogenic paintings have a vibrant quality that is distinctly Californian. Inspired by the natural beauty of his West Coast home, the Cupertino native renders the area’s flora and neon haze into radiant, fractal-like patterns. At first, his midsized paintings on wood panels might appear to be composed of simple brushstrokes, but the reality of Peters’ process is much more complex.
By Alexander Keefe
One’s initial impression of Yunhee Min’s new work, an intervention of poured paint and fluorescent light onto two long, normally transparent vitrines installed in the lobby of the Equitable Life Building—an iconic if somewhat long-in-the-tooth skyscraper in Koreatown—depended a great deal on how (or when) one first came across it. If the lights happened to be switched off (as they were at regularly timed intervals), Luminaire Delirium (Equitable Life or soft machine), 2015, displayed a milky, matte opacity, obstructing or deflecting one’s view of the vitrines’ interiors with turbulent, tainted whites, shadowed by hints of darker, more vivid colors swimming just behind. But if the cases’ hidden fluorescent tubes were set aglow, those same soured, opaque whites blazed into translucency, revealing brilliant layers of liquid color, and transforming this patch of corporate interior into a minor phantasmagoria of stained glass: Viscous, chemical yellows bled into inky blue-blacks and absinthe green; shades of red suggested a continuum between maraschino syrup and stage blood.
Inspired by Robert C. Jackson’s 2014 publication, Behind the Easel: The Unique Voices of 20 Contemporary Representational Painters, this exhibition surveys the state of realistic painting at the start of the 21st century. Indicative of this moment are two trends in representational painting–the depiction of the natural world and the creation of fantastic imaginings. Featuring artists from throughout the United States and Canada, including Steven Assael, Bo Bartlett, Debra Bermingham, Margaret Bowland, Paul Fenniak, Scott Fraser, Woody Gwyn, F. Scott Hess, Laurie Hogin, Robert C. Jackson, Alan Magee, Janet Monafo, John Moore, Charles Pfahl, Scott Prior, Stone Roberts, Sandra Mendelsohn Rubin, Daniel Sprick, Will Wilson, and Jerome Witkin, Truth & Vision: 21st Century Realism reveals the contemporary developments in a mode of painting historically tied to the greater Brandywine Valley.
During March and April the George Adams Gallery will present “Differing Views,” a group exhibition featuring the work of five notable realist painters: Rackstraw Downes, Richard Estes, Yvonne Jacquette, Andrew Lenaghan, and Rod Penner. Each artist will be represented by multiple paintings including a new series of tondos by Lenaghan and four pastels by Jacquette.
101/EXHIBIT proudly presents Dynamic Pictorial Models, an exhibition featuring gallery artist Pedro Barbeito in collaboration with artists Lydia Dona, Fabian Marcaccio, and Franklin Evans. The opening will be held from 6-9pm on Saturday, March 12th at 8920 Melrose Ave, located on the corner of North Almont Drive, one block south of Santa Monica Blvd. A full-color catalog with essay entitled “New Models, Strange Tools” by New York-based poet and art critic Raphael Rubinstein will accompany the exhibition.
Guy Yanai to participate in a group exhibition, IMAGINE, at Brand New Gallery in Milan, Italy from 2 March - 2 April 2016.
By Graham McLean
With an ease and precision that comes only from a lifelong dedication to one’s craft, it is no wonder why so many consider Cuban born artist Julio Larraz to be one of the most important Latin American artists working today. Larraz creates monumental works of art that are majestic and refined, but still somehow accessible. His works, though painted naturalistically, are often highly imaginative, and this duality is what draws the viewer in.
Larraz has had an impressive career dating back to the 1960s when he drew political caricatures for the New York Times, The Washington Post, The Chicago Tribune, Vogue Magazine, and other publications. He is the recipient of an award from the American Academy of Arts and Letters and his work can be found in museums, galleries, and private collections all across the globe. I had the great honor of speaking with Larraz about his work and what he thinks his art means.
Rod Penner's paintings to be featured in "Photorealism. 50 Years of Hyperrealistic Painting" at the Kumu Art Museum in Estonia.
By Priscilla Frank
When John Sonsini began painting Latino day laborers in Los Angeles, California, around 2001, his intentions weren't quite political. They were practical. The subjects were available and abundant.
By Paul Laster
Opening: “John Sonsini” at Ameringer | McEnery | Yohe
A Los Angeles-based artist best known for his portraits of Latino day laborers, John Sonsini adds a conceptual twist to his portraiture by paying his subjects their normal hourly working wages to sit as his painting models. Working with rough, lively brushstrokes, the artist renders the faces and figures of men seeking daily employment on the streets of L.A., while also capturing the realistic likeness and realities of immigrants in work clothes and cowboy hats that are burdened with all of their belongings in bags. New to his compelling oeuvre is a group of still lifes, which focus on tender and heart-wrenching details of these men’s difficult lives.
Ameringer | McEnery | Yohe, 525 West 22 Street, New York, 6-8 p.m.
A solo exhibition featuring new paintings and sculptures by Iva Gueorguieva opens 5 February 2016 and is on view through 14 March 2016. The opening reception is 5 February 2016 from 7:30 - 9 pm.
Isca Greenfield-Sanders has with her oil paintings spellbound a large audience in the US. Her paintings in the exhibition All Roads in My Mind depict scenes that most of us are familiar with: a boat trip or a summer day on the beach, and you can almost feel the wind in your hair, touch the sand and feel the warmth of the sun on your skin. Isca Greenfield-Sanders utilizes private photo slides found on eBay and from the chosen photographs she arranges parts and details into her work. The people she portraits are anonymous to her but also to the viewer by the way they are depicted, often from a distance and without any distinct characters. Her use of color and at times abstract fields in her paintings bring to mind painters like Claude Monet, Winslow Homer as well as the Swedish artist Carl Fredrik Hill.
Brian Alfred's City Sunrise, 2004, will be on exhibition in the Denver Art Museum's reinstallation of the Modern & Contemporary galleries. Audacious: Contemporary Artists Speak Out officially opens to the public February 21, 2016 and will be on view through February 2017.
7. Stephen Dean at Ameringer | McEnery | Yohe, through February 6.
Labor intensive doesn't begin to describe the technique New York-based artist Stephen Dean uses to create the large-scale “Crossword" watercolor compositions featured in this exhibition of recent works. Each square of the hundreds of crossword puzzles from newspapers and magazines, mounted on archival Tycore, is tinted with a drop of watercolor, estimated at 100,000 drops per panel. The process of creating these works must be as rigorous and contemplative as the resulting images, which are at once visually arresting and psychically soothing. The fluid color counters the rigid geometric patterns of the crossword sections in each work, instigating a luminous, pulsating surface. The overall feeling must certainly correspond to that of finishing a particularly complex puzzle.
BY IAN EPSTEIN
As Stephen Dean was on his way back to the studio after a quick stop at the Outsider Art Fair last week, Artsy caught up with the artist to hear about his current show at Ameringer | McEnery | Yohe—comprised of a series of huge crossword puzzles, dotted meticulously with color. These works are counterposed to a set of smaller drawings on Chinese calligraphy paper, where glass-head pins punctuate evenly spaced intersections. In his sculptures, videos, and works on paper, Dean often approaches color with a scientific perspective. But what’s clear from our conversation is that the psychological and spiritual histories of color weigh equally in his mind as he works. Using the tools of the laboratory and drawing inspiration from the microscopic to the prehistoric, Dean’s work celebrates the relationship between saturated color, transparency, and light.
In Aikido Dream, his new solo exhibition at MCA Santa Barbara, the Los Angeles–based artist Tam Van Tran slips sideways through the gaps separating painting, drawing, and sculpture, using multiple procedures and unusual materials (chlorophyll and spirulina but also Wite-Out and staples) to create densely layered objects, some of them quite beautiful.
Opening Reception: Wednesday, December 16, 2015 6:30–8:30pm
Equitable Vitrines is pleased to announce a new exhibition by Los Angeles based artist Yunhee Min in its namesake headquarters, two vitrines in the lobby of Koreatown’s Equitable Life Building.
Nuno de Campos to exhibit drawings at the Museum of Goa, India, 12 February - 2 May 2016.
Morphology of Archive, an international exhibition featuring the work of thirty three artists curated by Sabitha TP and Lina Vincent, is conceptualised around connected migrant histories of Goa. Goa’s position as a significant port of trade and travel creates a unique cosmopolitan archive from which the various agents of history emerge. Goa has been an active site of trade and conquest from the 350 years of medieval Kadamba rule to the more recent 450 years under the Portuguese, profoundly shaping its architecture, music, cuisine, customs, and morphing identities. It is this deep cosmopolitanism in the internal and external landscape of Goa that this exhibition reflects. Morphology of Archive is a multimedia artistic engagement with the archive of transoceanic associations with Goa, its memories of other places, other peoples, other visual and tactile cultures that have all gone into the making of its diverse identity.
Guy Yanai to partipate in a duo show with Kaye Donachie at Appartement in Paris, France on view from 15 January - 30 January 2016.
Guy Yanai's solo exhibition, Ordinary Things, at Haifa Museum of Art in Israel on view from 12 December 2015 - 4 May 2016.
In a recent review of Maureen Gallace’s current exhibition at 303 Gallery by Barry Schwabsky, the subject of whether painting a landscape is relevant in today’s era was brought up. Gallace’s landscapes are certainly an example of how a landscape can be far more than just an aesthetic rendering of a natural scene. They present moments in time that exhibit specific natural and subconscious occurrences. In a way, her handling of light and movement of natural elements makes her a contemporary Impressionist painter.
The Cosmopolitan of Las Vegas, in partnership with Art Production Fund, is pleased to announce P3Studio artists-in-residence Kate Gilmore and Franklin Evans. Through their interactive project, “Shelf Life,” Gilmore and Evans will use the activity of shared art making to explore Las Vegas. By juxtaposing the absurd with the logical, the project’s collection of curated and transformed material objects will reflect the principles that underlie the artists’ broader portfolios.
By Amah-Rose Abrams
It has been an exciting year for contemporary art, with a young generation of artists pushing the boundaries both in terms of materials and subject matters. But with so much going on it's easy to miss out. In an effort to capture the moment, we at artnet News have put together a directory of the most exciting artists showing, living, and working in Europe at the moment. Here's Part Two of our list, continuing yesterday's Part One.
Octogenarian painter Wolf Kahn—who was among the second generation of the New York School artists—continues to paint every day. Ameringer | McEnery | Yohe celebrates his recent work with a solo exhibition, featuring the luminous scenes of barns, rivers, meadows, and wooded New England landscapes for which the much-lauded artist is known.
ART IN AMERICA Artists working in 50 states + Puerto Rico Curated by Julie Torres Featured in Tiger Strikes Asteroid’s Artist-Run at The Satellite Show Miami December 1-6, 2015
Todd Hebert Hoop with Iceberg, 2014 Acrylic and pastel on paper 10 x 7 inches
Please join us for the opening reception of Los Angeles-based media artist Tam Van Tran's solo exhibition, Aikido Dream. There will be an artist talk with Tam Van Tran and Michael DeLucia on Saturday, November 14, 2015 at 6 pm.
Interview by Erin Spens
Guy Yanai is an Israeli painter living and working in Tel Aviv. His work often depicts everyday objects and places using vibrant colors and simple shapes. Like snapshots of memories, the paintings feel familiar and yet detached from reality, bridging a wonderful divide between then and now.
Stephen Dean in ARQUITECTURAS Y ESPACIOS EN LA COLECCIÓN RAC at the Centro Cibeles in Madrid which runs through 22 December 2015.
Simple reality seamlessly blends with beautiful imagination.
Julio Larraz describes the vivid images that he paints as visions that come to him as dreams he sees during the day. These images may come on and off over the years, though some, Larraz reveals, “are recent ones, other are long-time friends. There is a mixture of it. I don’t like to do theme works. I prefer to take something and see it from fresh eyes, rather than see it forever.”
The artist on daydreams, storytelling, and his "pretexts to paint"
On the eve of his recent gallery opening in Chelsea, Julio Larraz met with Cuban Art News publisher Howard Farber for a second, wide-ranging conversation following their earlier interview. On the agenda: art, collecting, sources of inspiration, and the “imaginative, powerful, awe-inspiring” work of contemporary Cuban artists.
Works on display by:
Lauren Elder Chris Hood Bas van den Hurk Guy Yanai
Guy Yanai at Rod Barton Gallery in London featuring furniture by Rafe Mullarkey from 13 November - 12 December 2015.
You could say that L.A. artist David Allan Peters has an affinity for rules — though it's hardly apparent when first viewing his work.
Beginning in November, 2015, Museum of Contemporary Art Santa Barbara (MCASB) presents a solo exhibition of Los Angeles-based mixed media artist Tam Van Tran.
The latest iteration of Bloom Projects, which will go on view the same day, debuts a newly commissioned site-specific installation by Brooklyn-based artist Michael DeLucia, whose work addresses the condition of sculpture and spatial relationships in the technological age.
An opening reception for both exhibits will be held from 6–8 p.m. Saturday, Nov. 14, 2015. They will be on view from Nov. 15, 2015 to Feb. 21, 2016.
Shila Khatami (b. 1976) is a visual artist who studied at the Fine Arts Akademie of Munchen and the Fine Arts Akademie of Dusseldorf, where she graduated in 2004.
Monique van Genderen to partipate in four artist show, Stray Edge, at Guggenheim Gallery, Chapman University.
Smartly dressed gallerygoers spilled out of brightly lit spaces all in a row Thursday, on what seemed like an evening of openings. Past a whiff of wine from the makeshift bar flanking the entrance to Ameringer McEnery Yohe, a loud din filled the warm room, ceasing for a moment only when a glass shattered on the floor. The lively reception celebrated the opening of Julio Larraz’s first solo show with the gallery since he joined in 2014.
Julio Larraz may not have started an actual salmon club like his mother suggested, but he did become and continues to be an essential and illustrious figure in the art world. The work of Larraz belongs in no recognized genre. His paintings, all saturated with striking colors and sharp light reveal a world of metaphor and pre-meditated dreams inspired by Julio's past, present days and his small, poetic daily observations.
Preparing for his new solo show in New York, the artist talked withCuban Art News publisher Howard Farber.
Tonight, Julio Larraz opens his first solo exhibition at the Chelsea gallery Ameringer McEnery Yohe. In a conversation with Cuban Art News publisher Howard Farber, he spoke about his art, his influences, and what he’d like viewers to take away from their encounter with his images.
In diplomatic circles, the thaw in Cuba-U.S. relations may be happening mostly behind the scenes. But the same cannot be said for the art world. The past few months have seen several major gallery shows of contemporary Cuban and Cuban-American artists—and nowhere more than New York City, where no fewer than seven solo and group shows will be on view this month. Here’s a quick guide to where to find Cuban contemporary art in Chelsea in October.
The jungle is a magical one, dense with dangling vines and voluminous blossoms awash in green and gold glitter. The foliage sways in the breeze, casting glimmering shadows that dance on a nearby wall to the chorus of crickets chirping, leaves rustling and crows cawing.
Stephen Dean to participate in a group exhibition, The Museum Imagined, curated by Lilly Wei at Danese Corey, New York, NY.
A group exhibition, A House Without Rooms, organized by Guy Yanai at Galerie Torri, Paris, France is on view from 22 October to 21 November 2015. Other artists participating in the show are Linus Bill & Adrien Horni, Luc Fuller, Alex Katz, Ridley Howard, and Alistair Frost.
LOS ANGELES — The Craft & Folk Art Museum (CAFAM) presents Paperworks, an exhibition that examines the range of work by fifteen contemporary artists with strong ties to Los Angeles who use paper as their primary medium. Their art comprises two- dimensional cut-outs and collages; free-standing sculptures; and large-scale installations that engage the architecture of the museum’s gallery space. Many of the works are created newly for this presentation. Paperworks, organized for the Craft & Folk Art Museum by independent curator Howard N. Fox, is on view from September 27, 2015 through January 3, 2016. An illustrated catalogue including texts on each artist will accompany the exhibition.
Iva Gueorguieva's paintings are tighter than ever -- and just as loose as they have always been.
Gueorguieva collages, dyes, draws and paints fervently across every inch of each canvas or cardboard surface, playing every instrument in the orchestra and acting as the conductor as well. Her new work at ACME is riveting.
Paraphrasing Dave Hickey, who wrote a great essay that accompanies Michael Reafsnyder's latest catalog for his solo show at Ameringer, McEnery and Yohe, Michael is considered a radical, not so much because of how we look at his paintings, but more because he is concerned with how we look at paintings in general. He is a radical who for many years has revived Abstract Expressionism painterly traditions, in his own way.
Spreadsheetspace is a new installation by Franklin Evans using the grid and organizational format of the Excel spreadsheet to construct a three-dimensional painting space. The installation shows the how and what of painting, memory, and the construction and navigation of studio practice and the art world. Digital prints, paint, process notes, residual painter’s tape, and images combine to suggest both the interior of three-dimensional painting and the brain of an artist organizing information. The images and information include: (i) the artist’s Haugan family from Morgedal, Norway whose great-grandfather (Olaf Haugan, the ski jump world record holder, 1879) immigrated to the United States, (ii) contemporary art and art history, (iii) art world logistics, and (iv) the process logistics for spreadsheetspace.
ArtPrize Seven at GRAM will bring another thematic exhibition of work by artists from across the globe to West Michigan. This exhibition will address this theme in its broadest sense, serving as a framework for exhibiting and interpreting a wide range of different works of art. Nature/Nurture will explore the circumstances of every-day life and the complex character of identity. Are we a product of our DNA or of our environment? The classic construct of nature versus nurture as debated by philosophers and scientists will be only one dimension of this multi-faceted exhibition. Nature/Nurture will also investigate the numerous ways in which artists address the themes of nature and nurture separate from one another.
Detroit, MI-- Wasserman Projects, an independent, interdisciplinary arts space, will open its doors on September 25th, during Detroit Design Festival. Located in the historic Eastern Market, the new space will launch with two exhibitions featuring large-scale interactive installations by Markus Linnenbrink / Nick Gelpi and Jon Brumit. Opening reception: Friday, September 25, 6-10 pm.
Susanne Vielmetter Los Angeles Projects is pleased to announce, movements, Yunhee Mins fifth solo exhibition at the gallery. In her new work, Min continues to explore the sensorial potential of color, light, and gesture. Movements refers both to literal and suggested motion and change: her gestures on the canvas, the viscosity of her paint, and the way these actions combine to produce a shifting spatiality within her compositions. These paintings neither suggest infinite depth nor firmly reinforce the flatness of the support; instead there is continuous expansion of space generated by the relationship of each movement to the next.
Stephen Dean is a French-American artist based in New York City whose work summons the mesmerizing physiological and cultural qualities of color. He employs a visual language that explores the saturated edge of the color spectrum through large-scale celebratory videos, sculptures and works on paper.
ACME. is pleased to present a solo exhibition of new paintings and sculptures by Los Angeles based artist Iva Gueorguieva. Included in the exhibition is a new monumental painting that consists of 5 panels that wrap around a corner of the room, with one panel on the left wall and the other 4 panels continuing to the right wall forming an L-shape. Included with Gueorguieva's new paintings will be three new sculptural works that she produced during her ongoing residencies at Graphicstudio in Tampa, FL.
One of New York's most energetic patrons of emerging artists, Carole Server has been collecting up a storm with her huband Oliver Frankel ever since they caught the art bug half a decade ago—helped by a keen eye and voracious visual appetite, in particular for paintings in all forms. Here, Server, who is also a trustee at the Bronx Museum, shares her picks from EXPO CHICAGO.
From Peter Shire´s eclectic and playful vocabulary, over Guy Yanai´s light and colour infused scenes, to Matthew Feyld´s minimalistic patterns, all three artists echo extracts of everyday life into intriguing visual compositions. The exhibition brings together new paintings by Guy Yanai and Matthew Feyld, and ceramics and sculpture by Peter Shire.
The canvases of California-based painter Michael Reafsnyder pulsate with energy. Layers of abstract marks bear the traces of their making as paint is directly applied from the tube, weaving together to create dense, intricate topographies. It’s not always easy to enter the work: one must follow multiple strands of color before a narrative opens up and the viewer is absorbed by the sensual space Reafsnyder offers.
Tam Van Tran's solo exhibition, Breathing, is on view at Long Beach City College Art Gallery 3 September - 1 October 2015.
Walls of Color: The Murals of Hans Hofmann opens October 10, 2015 and will headline the museum's Art Basel season, on view through January 3, 2016. The exhibition focuses on the artist's public mural projects, and also includes several key later paintings. It features nine oil studies (each seven feet tall) for the redesign of the Peruvian city of Chimbote (Hofmann's visionary collaboration in 1950 with Catalan architect Jose Luis Sert that was never realized).
A work, futuredpast, by Franklin Evans is included in a group exhibition, NEW NEW YORK: ABSTRACT PAINTING IN THE 21ST CENTURY, at the University of Hawaii at Manoa.
A renaissance of abstraction has recently surfaced cross New York. The sine qua non of modern art, abstraction fell out of favor in the late twentieth century with the emergence of postmodernism and its concepts of paradox, pastiche and deconstruction. But at the beginning of the twenty-first century, abstraction has arisen from the ashes of its professed death with a power and potency rivaling its inception. This phenomenon and the reasons for its resurgence are considered in NEW NEW YORK: Abstract Painting in the 21st Century.
TAMPA, Fla. (Aug. 12, 2015) - As Iva Gueorguieva looks intently at the seven sculptures coming to life, she speaks about the synergistic relationship that she has developed over the past few years with University of South Florida’s Graphicstudio and how it has elevated and transformed the way she constructs her artwork.
In a unique survey exhibition that SCHAUWERK Sindelfingen shows exclusively works by artists from the collection Schaufler. More than 30 well-known women of contemporary art, including Sylvie Fleury, Isa Genzken, Katharina Grosse, Roni Horn, Barbara Kruger, Sherrie Levine, Jessica Stockholder and Rosemarie Trockel, are entitled LADIES FIRST! united. The approximately 100 works presented include photography, video, painting and installation. At the same time illustrate the different approaches, such as taking artists who sometimes still male-dominated art scene for themselves.
Does the sea have a door?, is there a house with no room?, are there words without letters?
These are some of the questions that my son Romy asks me. He has no idea how much his thinking influences me, a thinking that is not yet rooted in the limited possibilities that life inflicts on us, even the most poetic of us.
Letters without words, yes, of course. James Joyce took the furthest right? Finnegans Wake, an unreadable book that has stretched works and letters to the fullest. But words without letters? A form with no structure? Just the question as a thought is enough for me.
From 4 July to 27 September, at Hotel des Arts in Toulon, you can visit the exhibition VILLISSIMA. Des artistes et des villes which will exhibit some works by the artist Brian Alfred and Hema Upadhyay. The exhibition, curated by Guillaume Monsaingeon, becomes a point of reflection on how contemporary cities have evolved through contemporary art.
This exhibition brings together recently acquired works to the Barrick Museum and Las Vegas Art Museum collections. Many of the artists included in Recent Acquisitions have ties to the greater Las Vegas valley, helping to form the foundation of a heritage collection of works created in and inspired by the Southern Nevada region. As a cross section of the diverse practices pursued by contemporary artists this exhibition reaffirms the Barrick’s commitment to collecting art of the present. The vast majority of the works will be on display for the first time since entering the Museum’s collections.
Michael Reafsnyder's Floating is exhibited in "Paths and Edges: Celebrating the Five-Year Anniversary of the Escalette Collection" at the Guggenheim Gallery in conjunction with Chapman University. A catalogue accompanies the exhibition.
By Roberta Smith
GREENWICH, Conn. — You have to love Hans Hofmann for his exuberant late-blooming paintings, and for his eponymous art school, which formed one of the foundations of Abstract Expressionism. His paintings are, fittingly, usually seen as part of that heroic art movement, even though they replace its existential undercurrents with a stylistic capriciousness that sifts through European modernism with abandon.
By Ari Samuel
Artist Guy Yanai straddles the fine line between classical painter and contemporary hyphenate. The 35-year-old, Tel Aviv-based artist’s works often depict the whimsical trots of his globe: sailing in the Aeolian Islands off the coast of Italy, bunkering down in the French countryside amidst sun-drenched fauna and terra cotta-roofed houses; or simply harnessing a keen observation and infatuation with the small moments of life that we tend to neglect, but can influence us in a big and prominent way. All of these influences, and more, are deftly enveloped into an original and signature style for which Yanai is known—a style that has garnered the attention of some of the world’s leading art galleries, collectors and fashion brands.
By Liz Von Klemperer
Guy Yanai’s pieces fuse the placid landscapes and still lives of traditional painting with a pixilated style inspired by retro computer graphics. His solo show Ancienne Rive at the Ameringer McEnery Yohe gallery features fifteen new paintings in which Yanai uses fragmented stripes of color to demonstrate the interplay between the past, present, and future of art, as well as his own sense of displacement.
Two works by Kevin Appel, House - South Rotation Red: 4 West and Houses and Timbers I, are included in a group exhibition, Endless House: Intersections of Art and Architecture, at MoMA from 27 June 2015 - 6 March 2016.
The New York Foundation for the Arts (NYFA) has announced the recipients and finalists of its Artists’ Fellowship Program. The organization has awarded a total of $642,000 to 95 artists (including four collaborations) throughout New York State in the following disciplines: fiction, folk/traditional arts, interdisciplinary work, painting, and video/film. Fifteen finalists (three per discipline), who do not receive a cash award, but benefit from a range of other NYFA services, were also announced. A complete list of the Fellows and finalists follows.
Guy Yanai's fragmented stripes are paralleled by thick, vivid colors and banal subjects. "Ancienne Rive," meaning ancient river, calls upon ideas of history, authenticity, and something with deep roots, which contradicts the artist's self proclaimed feelings of loneliness, foreign alienation and the notion of being both nowhere and everywhere.
Hours before he was to board a plane home to Tel Aviv, I sat with Guy Yanai in the middle of Ameringer | McEnery | Yohe in Chelsea, encircled by a selection of his light-infused paintings. Each of the pieces consists of stacked, horizontal stripes of pigment, as if their scenes were viewed from behind a subtle scrim of blinds. Although he’d been in New York for less than a week, for the successful opening of “Ancienne Rive,” the solo show of new paintings that surrounded us, Yanai told me he was ready to return to his studio and to painting—to the work that most fulfills him.
AUSTIN EDDY, TAMARA GONZALEZ, SHARA HUGHES, RYAN SCHNEIDER, GUY YANAI
COBURN PROJECTS, MAYFAIR, LONDON
13 July - 5 September 2015 Viewings by appointment
The young Israeli artist Guy Yanai is obsessed with borders — the way the paint touches the edge of a canvas; the liminal spaces between people and between people and places. “The show is really about edges between many things,” he says of his solo exhibition “Ancienne Rive,” which opens tomorrow at the Chelsea gallery Ameringer McEnery Yohe. Like much of his previous work, the 15 new paintings Yanai created for this show convey the everyday: sailboats, the sea, plants, a quiet lawn and a horseback rider are meticulously painted in vibrant horizontal stripes. “It’s not really clear where they are, or what space they are,” says Yanai. “They’re nowhere, and in that sense it’s really a very synthetic kind of work.”
Guy Yanai created an edition of 50 archival pigment print's for Boat With No Sailors.
Guy Yanai abstracts mundane objects, landscapes, and architecture through decisive brush strokes applied in measured, horizontal stripes–the result: brightly colored compositions that remind us of Jonas Wood and David Hockney. In Boat With No Sailors, Yanai imposes geometric order on a familiar subject to create a succinct and pleasing representation of a sailboat gliding on water. Guy Yanai's solo exhibition Ancienne Rive opens Thursday, July 9 from 6-8pm at Ameringer | McEnery | Yohe Gallery in Chelsea.
Wolf Kahn's River, 1983, is included in a group exhibition, AMPLIFIED ABSTRACTION, at El Paso Museum of Art.
Stephen Dean's video installation, GRAND PRIX, 2005, is included in a group exhibition, Ensembles, La Photographie, at Les Rencontres de la Photographie, Arles.
Patrick Wilson’s paintings—a number of which are now on view at Ameringer | McEnery | Yohe in New York—benefit from a slow, prolonged, and introspective viewing. Precise compositions of squares and a considered rhythm of colors beckon the viewer past the painting’s surface and into a space that grows more and more palpable. Like some of life’s greatest pleasures, the appeal is visceral: “I want the paintings to be seductive like a really good meal and really good wine,” he recently told Artsy.
July 2 at 8 pm NYC-Arts News on THIRTEEN will be hosted from the Bruce Museum in Greenwich, CT featuring "Walls of Color, the Murals of Hans Hoffman."
Broadcast encores as follows: Sunday, July 5 at 12 noon on THIRTEEN Friday, July 3 at 7pm and Sunday, July 5 at 3pm on WLIW Sunday, July 5 at 8:30 pm on NJTV
July 9 at 8 pm NYC-Arts News on THIRTEEN will be hosted from the Bruce Museum in Greenwich, CT featuring "Walls of Color, the Murals of Hans Hoffman."
Broadcast encores as follows: Sunday, July 12 at 12 noon on THIRTEEN Friday, July 10 at 7pm and Sunday, July 12 at 3pm on WLIW Sunday, July 12 at 8:30 pm on NJTV
Work by Franklin Evans is being presented at Mykonos Biennale.
I would like to let you know about a very special opportunity happening at the Bruce next week.
On Thursday evening, June 25, Dr. Mary McLeod, our final guest lecturer in the 2015 Bob and Pam Goergen Lecture Series, will present:
Hans Hofmann and José Luis Sert: An Experiment in Artistic Collaboration
ICASTICA 2015 Cultivating Culture 28 June–27 September 2015 Press preview: 27 June
By Tara Lange
Guy Yanai‘s 2015 work highlights his creative evolution and newfound confidence as an artist. The Israeli born painter currently lives and works in Tel Aviv, and the colorful palate of his surroundings as well as the vibrant, live-life-in-the-moment energy of his city shines through in his pieces.
A work by John Sonsini, Gabriel and Fernando, 2004, will be included in a group exhibition, Us is Them, at the Pizzuti Collection in Columbus, Ohio.
By Ali Morris
Appearing like pixilated images, brightly coloured weavings or even needlepoint, Guy Yanai’s oil on linen paintings depict simplified interpretations of the everyday painted in meticulously applied strokes of colour. From pot plants to sail boats, the artist paints ordinary still life subjects and sun-soaked landscapes but in a way that makes them current, gliding the brush across the canvas, one line at a time.
Art of the West showcases the dynamic and evolving world of art that springs from the cultural practices of some of the many peoples who have shaped the American West. This exhibition is the first of its kind to explore how shared values and interests have inspired artists from different cultures and times to create distinctive, powerful works that speak to their experience of the West as both a destination and a home.
The distinguished and distinctive art collection of New York and West Palm Beach resident and generous patron of the arts, Beth Rudin DeWoody, will be celebrated at the Norton Museum in Spring 2015. Well known internationally for her knowledgeable choices and awareness of the new and emerging genres of art and artists her passion for collecting has never subsided since acquiring her first drawing in the 1970s. With a collection that is still very much in progress, this exhibition will reflect areas of emphasis over the four decades she has been seriously engaged in looking at art. It will also reveal her connoisseurship and openness to new ideas.
Todd Hebert is in a group show, Mixed Doubles, at Devin Borden Gallery in Houston, Texas this summer.
Nature Morte: Contemporary Artists Reinvigorate the Still Life
Nature Morte – the exhibition – is based on Michael Petry’s recent book of the same name for Thames & Hudson. It brings together historic still-life paintings and contemporary art works that use the language of the past for modern concerns. The show seeks to illustrate how leading artists of the 21st century are reinvigorating the still life, a genre previously synonymous with the sixteenth- and seventeenth century Old Masters.
Ameringer | McEnery | Yohe and Artsy held a private preview and walk-through of Patrick Wilson's exhibition, 28 May - 3 July 2015, with the artist.
Over the past two decades, RBC Wealth Management has collected more than 400 works of art that reflect the diversity of the society in which we live and work.
By Ed Schad
It is worth pausing, at least for a moment, to think of the differences between Monique van Genderen’s four super-large paintings in the opening gallery of Susanne Vielmetter and the paintings of the era about which van Genderen is pointedly thinking: the broad and massively scaled canvases of Abstract Expressionism. Notably, the limitations of the studio set parameters of van Genderen’s paintings. The canvases are so large that she was forced to work on them both on the floor and on the wall, not knowing what they would look like when stretched and extended at Vielmetter.
Opening Saturday, 6 June 2015 from 6-9PM at Storefront Ten Eyck, 324 Ten Eyck Street, Brooklyn, NY 11206, during Bushwick Open Studio weekend.
Image: Franklin Evans, from1989houstonstreetstudioto2015, 2015, Mixed media installation
By Shana Nys Dambrot
Artist Iva Gueorguieva arrived in the US as a teenager 26 years ago, somewhat accidentally. Her family urgently emigrated from their native Bulgaria in the wake of Communism's fall, but their flight to Canada was diverted to Washington, DC, by a freak storm—so they settled in Baltimore instead. "People see a violence in my work that they think references life in Europe, but honestly, Baltimore in the 1990s was pretty intense!" She attended art school in Philadelphia and lived for a long while in New Orleans, before settling in LA about ten years ago. She had left New Orleans two months before Katrina, and she knows that the perception of violence comes partly from that, too—though in fact, it is a violence done to art historical conventions and complacent iconography rather than to characters in settings. Her post-Katrina series was called Talisman Debris, hearkening to witchcraft, reliquary, and destruction. On a personal level, this represented a reconciliation of her "survivor's guilt" for escaping Katrina, which resonated deeply with her experience leaving Europe as well. All of this and more she still carries with her.
A Lesson in Geometry By Jean Cohen
Listen to Patrick Wilson, see his new paintings in Chelsea (at Ameringer | McEnery | Yohe) and take away some art history. What Wilson has done for 20 years—works of elegant color, flatness and right angles—may seem, at first, the offspring of other art born out of geometry since the mid-20th century. But paintings by Wilson look like no one else's.
By Paul Behnke
From the Press Release:
Crosstown Arts is pleased to present "Between the Eyes," a group show about contemporary abstract painting and how we see it.
Just as the relationships of pitch and duration can express emotion in music, the formal relationships of hue, value, shape, and placement can collect to create meaning in abstract painting. Featuring the work of six painters exploring distinct modes of abstraction, the exhibition examines the way each artist uses deliberate choices to engage us in the experience of looking. Formal cues such as gesture, color and the use of found objects prompt us to recognize patterns and attribute meaning to certain behaviors. Physicality contends with the pictorial as we both decipher and project meaning into the space of abstract forms.
By Eileen Townsend
I once took an art history class for which we were required to buy a textbook called Living With Art. The teacher joked that it made art sound like a terminal disease, like the cultural equivalent of Living With Heart Failure. It was funny and unfortunately apt: Critical and curatorial discussion around art too often feels like people whispering at a funeral. It is a task to not get sucked into all the morbidity.
By Fredric Koeppel
I rarely visit an exhibition from which I wish I could take every piece home, but that’s the case with “Between the Eyes,” a show featuring work by six artists of the abstract at Crosstown Arts. That fantasy leaves aside considerations of cost — prohibitive — and of wall space, which is precious at our house. Curated by Laurel Sucsy, who includes two of her paintings, the show, spare in size and arrangement yet generous in result, will be displayed through May 16.
NEW YORK, NEW YORK – AMERINGER | McENERY | YOHE is pleased to announce its representation of artist, Yunhee Min. An exhibition of new works will open in Spring 2016.
NEW YORK, NEW YORK – AMERINGER | McENERY | YOHE is pleased to announce that John Sonsini is now represented by the gallery. An exhibition of new works will open in Spring 2016.
NEW YORK TIMES
By David W. Dunlap
GREENWICH, Conn. — There are several ways to appreciate the work ofHans Hofmann, an exuberant Abstract Expressionist who influenced generations of artists.
You could bid on a Hofmann at Christie’s. Just be sure to come with tens or hundreds of thousands of dollars. You could pick up a monograph, at no small cost. The Met has a number of Hofmanns on display, but the museum will suggest that you pay $25 to get in.
Alternately, you can take a stroll down West 49th Street in Manhattan, between Ninth and 10th Avenues, any day. Free.
There, along the ground-floor facade of the former High School of Printing, is a boldly scintillating 64-by-11½-foot mosaic mural designed by Mr. Hofmann and executed brilliantly in 1958 by L. Vincent Foscato of Long Island City, Queens.
New York’s treasury of public and semipublic artwork is so rich that it sometimes takes an out-of-town institution to remind us what we’ve got. In this case, it is the Bruce Museum in Greenwich, Conn., which has opened an exhibition called “Walls of Color: The Murals of Hans Hofmann,” curated by Professor Kenneth E. Silver of New York University.
Suzanne Caporael to produce new work at Tandem Press, University of Wisconsin-Madison in Summer 2015 as well as at Tamarind Institute, University of New Mexico in Summer 2015.
The colours emerge from the depth of the image.
One of the great stories of the modern painting is about the liberation of the colour from the object represented, and the development of its own materiality. This story had its heyday in Europe in the mid-20th century. Back then, Jean Dubuffet, Jean Fautrier and Emil Schumacher mixed colours with sand, plaster and other compact materials, and in USA, Jackson Pollock and Morris Louis let the paint drip onto and run down the canvas.
Tam Van Tran’s newest exhibition “Exodus” at Susanne Vielmetter represents a meditation on duality wherein forces in nature collide with our own human frailties. These paintings accelerate our sensibilities as colors push forward and break apart, yet it is the tension between materials that is most compelling. The small, fragile ceramic vessels that reference military and funerary formations, “the family units of historical figures in Vietnam,” stand in sharp contrast to the energy and movement of the large-scale paintings. The past conflates with the present and intimates the future much like the Buddhist deity Kala, who embodies the elements of time and death within a feminine form, suggesting rebirth.
One of the main advantages of sculpture is its possibility to express multi-dimensionality. Of course, there are techniques in painting aiming to represent multiple dimensions. Iva Gueorguieva is a contemporary artist whose paintings are characterized by extraordinary techniques with the goal to represent variable-dimension worlds. She experiments with cutting and collaging the surfaces of her paintings in order to explore the shallow yet real space produced by the cut and the glued edge. Working with sculpture was a natural step in the practice of Iva Guoeorguieva, deeply involved with the productive tension between the materiality of paint and support, and the possibility of illusory or “only-perceived” space. Finding ways for expressing the “materiality” in space is inherently related with sculptures. One of the main features of sculptures is its three-dimensionality that largely eases the positioning of subject-matter in space and time. The latest series of paintings and sculptures by Bulgarian-born artist Iva Gueorguieva will be exhibited at Ameringer | McEnery | Yohe in New York.
FL GALLERY opens its new space with a solo exhibition by Franklin Evans.
Without attempting to exhaust the theme, this exhibition reveals treasures that have been preciously guarded in French institutions since the end of the 19th century. The photographic relationship between Brazil and France becomes even more intense nowadays, as proven by the important collection of contemporary Brazilian photography at the Maison Européenne de la Photographie, represented here by a few examples which have Rio as a theme.
Rio, certainly a French passion, but also a passion of photographers from all around the world, and one that FotoRio and MAR are proud to share.
Screening animations at the Dallas Art Fair organized by Gretchen L. Wagner, Artistic Director and Chief Curator, Oklahoma Contemporary and Marfa Contemporary.
Participating artists include Brian Alfred, JJ Peet, Raphael Montanez Ortiz, Tomislav Gotovac, Desiree Holman, Sundblad/ Granat Films and Pul Kos, among others.
John Seed Interviews David Allan Peters:
David Allan Peters, whose work is on view at Ameringer | McEnery | Yohe through April 19th, has been building heavily layered paintings that he carves into to reveal rich stratigraphies of color. Kaleidoscopic in their intensity, Peters' works are both intuitive excavations and explorations of pattern.
I recently spoke to David Allan Peters and asked him about his background, his education and his methods.
Susanne Vielmetter Los Angeles Projects is pleased to announce our 6th solo exhibition with Tam Van Tran in Galleries 1 and 2. Dense rows of precious ceramic bottles surround Tran’s chaotic new paintings that explore the natural world and oppositional forces such as silence and noise, order and rupture.
Works of Paper II
opening reception: Saturday, March 21, 6-8pm
Dawn Clements, Doug Crocco, Daniel Cummings, Tomory Dodge, Natalie Frank, Gregor Gleiwitz, Iva Gueorguieva, Roger Herman, Anne McCaddon, Aaron Morse, Michael Norton, Demetrius Oliver, Yuval Pudik, Michael Reafsnyder, Dario Robleto, Brion Nuda Rosch, Adam Ross, Lisa Sanditz, Aili Schmeltz, Fran Siegel, Stephanie Washburn, Eric Yahnker
Kaleidoscope: abstraction in architecture Kevin Appel, Carlos Bunga, Gianfranco Foschino, Veronika Kellndorfer, and Lucia Koch
Opening Reception: Saturday, March 21, 2015, 6-8PM
Christopher Grimes Gallery is pleased announce its forthcoming exhibition Kaleidoscope: abstraction in architecture. This exhibition brings together artists from different backgrounds that engage with the languages of abstraction and architecture through multiple media to achieve distinctly varied results. Included in the exhibition are works by Kevin Appel, Carlos Bunga, Gianfranco Foschino, Veronika Kellndorfer and Lucia Koch.
This exhibition will explore connections between a range of modern and contemporary artworks that employ innovative materials and approaches to image-making. The show’s title Rock, Paper, Scissors, and String both recalls the familiar childhood game of chance and reflects the exhibition’s focus on the inventive use of artmaking materials, compositions, or techniques to create each work.
INSIDE THE GLAMOROUS NEW YORK CITY PENTHOUSE OF KARA AND STEPHEN ROSS
In their penthouse high above Central Park, jewelry designer Kara Ross and developer Stephen Ross cultivate an air of warmth, glamour, and sophistication
Text by David Colman | Photography by William Waldron | Produced by Carlos Mota
Susanne Vielmetter Los Angeles Projects is pleased to announce Manufactured Paintings, an exhibition of works by Monique van Genderen.
The exhibition opens on 21 February and will be on view through 4 April 2015.
The ever-expanding measurments of paintings has been a topic of interest since the mid-twentieth century when New York School painters first pushed the boundaries of museum walls to ehir limits. In 1947, at the height of the Abstract Expressionist era, the Museum of Modern Art mounted an exhibition called Large-Scale Modern Paintings; to qualify for inclusion, paintings had to measure at least six feet in one direction. Today, a similar set of criteria has been applied to the Art Center's permanent collection to arrive at a group of monumental paintings that are at once impressive and daunting. These larger-thank-life canvases invite an extraordinary visual experience in which the viewer is immersed in the field of painting. XL, which includes work by Kevin Appel, Roger Brown, Nancy Graves, Joyce Kozloff, Alfred Leslie, Agnes Martin, Joan Mitchell, and Jules Olitski, is a testament to the enduring visual power of mural-sized painting.
For Atelier Ace Issue, our series of limited edition art prints, we asked Brian Alfred, a multimedia artist originally from Steel City, USA, to envision an exclusive print for us and for you. With hard-edges, flat geometric forms and imagery borrowed from Circuit of the Americas in Travis County, Texas, Alfred uses speed, car racing and rituals of spectacle as avenues to explore contemporary ways of seeing.
Collector Profile: Harry and Margaret Anderson
When Hunk Anderson was a senior at Hobart College in Geneva, New York, in 1948, he and two enterprising classmates started providing meals for students who were hungry after dining-hall hours. Initially investing $500 each, the three partners grew Saga, their grassroots business, into the nation’s largest college food-service contractor. In 1962 they moved their headquarters to Menlo Park, California, adjacent to Stanford University.
As pioneering West Coast art collectors, Harry W. Anderson, who still goes by his beefy nickname, and his wife, Mary Margaret, known as Moo, have shown the same sort of American pluck and ingenuity that made Saga so successful. “We were absolute novices,” says Hunk, recalling a 1964 visit to the Louvre. “On our way home from Paris, we decided to see if we could become knowledgeable about art and put together a dozen paintings and sculptures.” They began a process of self-education that blossomed into a passion around which they have structured their lives for 50 years. The result: one of the most significant private collections of postwar American art in the world, with more than 800 works displayed throughout their ranch-style home in the Northern California Bay Area—built in 1969 with art installation in mind—and a nearby nine-building office campus designed in 1964. (Saga was sold to Marriott in 1986, but Hunk retained his office and continues to exhibit art throughout the hilltop complex, renamed Quadrus.)
Postcards from the End of the World: Brian Alfred’s Colorful, Cautionary Tales
Painter and digital artist Brian Alfred presents the world as a series of flattened fragments. Working from photographs, the Brooklyn-based artist digitally creates compressed, simplified images that capture the energy and anxieties of the modern world. Highway overpasses, empty offices, cityscapes, and even public figures’ faces are reduced into planes of flat color, which the artist carefully paints in taped-off portions, creating crisp images that sit somewhere between the handmade art of paintings, cartoon-like animation, and mass-produced perfection. His latest series, on view in a new show at Ameringer | McEnery | Yohe, takes automobile racing as its point of departure.
BRIAN ALFRED AT AMERINGER | MCENERY | YOHE
The New York based gallery Ameringer | McEnery | Yohe has announced a forthcoming solo exhibition by the Brooklyn based artist Brian Alfred which will present recent works under the title It Takes A Million Years To Become Diamonds So Let’s All Just Burn Like Coal Until The Sky Is Black. The solo exhibition will feature new images by Brian Alfred based around the exploration of automobile racing, his cropped abstract works capturing everything from the excitement of the cars and racing through to the global investment elements of companies that contribute the money to the races by including representations of oil slogans in his images. The exhibition at Ameringer | McEnery | Yohe, who last year presented a show of work by Wolf Kahn (see more in this video), sees Brian Alfred capturing small slices of time that aim to capture the emotions of watching the races.
Last month, Norwegian artist Margrethe Aanestad spoke with fellow artist Franklin Evans about his artistic practice and an upcoming exhibition he is organizing for the Prosjektrom Normanns in Stavanger. Below, Aanestad talks with Evans about his past projects, current work, and plans for coming to Stavanger.
The Canadian-born, Los Angeles-based painter is a master colorist who fetishizes the brushstroke to striking effect. For this exhibition of recent paintings she opted for a kind of reverse working method. Instead of creating sketches and studies for a larger painting, Van Genderen made the large work first and endeavored, on six smaller canvases, to recreate sections of that painterly abstraction that were as true to the original painting as possible. The small-scale “copies” could theoretically be reassembled to ape the original piece.
FARGO – Todd Hebert’s techniques are making the art world take a second look at his work.
The Grand Forks painter has been creating a stir in gallery circles for years, but area art patrons are seeing for themselves what all the buzz is about. The North Dakota native’s show, “Todd Hebert: Selected Works 1999-2014” opened at the Plains Art Museum in Fargo in October and remains on display through March 21.
This fall, on the occasion of the New York Studio School’s 50th Anniversary, Steven Kasher Gallery is pleased to present 12 Painters: The Studio School, 1974/2014. This dynamic exhibition brings together painting by six artists who studied at the New York Studio School in the early 1970s: Andrea Belag, Robert Bordo, Joyce Pensato, David Reed, Adam Simon, and Christopher Wool; and six Studio School teachers who influenced them:Nicolas Carone, Philip Guston, Mercedes Matter, George McNeil, Steven Sloman, and Jack Tworkov. The exhibition will be on view from November 20th, 2014 through January 10th, 2015 at Steven Kasher Gallery, exploring the connections/dissonances of artists from the Studio School across generations.
The "Summer of '14" is now a work of art. It is also a work in progress by Columbus artist Bo Bartlett. In the painting, two teenage girls are riding a bike oblivious to the cloud of smoke behind them. It was that kind of summer for Bartlett, who worked on the painting in his second-floor studio in the old Swift textile mill on Sixth Avenue. Things seemed to be going well, but he says he sensed impending doom. It struck when his 27-year-old son, Eliot, died suddenly. Recently, Bartlett sat down with Ledger-Enquirer reporter Chuck Williams to discuss his life, his work and his difficult summer.
The art world boomed this year, with some of the most renowned, international creatives in the field exhibiting their new works around the globe. The artworks and installations shown have each immersed audiences in an impactful and significant experiential context — monumental in scale, discipline, and material. From Olafur Eliasson’s expansive and multi-faceted exhibition in paris’ gehry-designed fondation louis vuitton to the esteemed photojournalistic imagery of Steve McCurry, 2014′s presentations blew us away. take a look below at designboom’s most popular articles this year about exhibitions.Markus Linnenbrink: Off the Wall
A slight variation on a theme this one, although as the title to this AV collaboration between Brooklyn-based abstract pop artist Brian Alfred and longstanding Battles serviceman Ian Williams suggests, there’s Beauty In Danger. There’s danger in beauty too, but as precisionist blocks of automobile-themed pastel dart across the screen this one’s indubitably a question of the outwardly beautiful residing deep within the dangers of modern-day locomotion. The volatile flickering of restive traffic lights; the neon smear of speeding cars; the immoderate regard paid to the music booming from the tinny in-car stereo. In this instance, we’d implore you pay the most intimate of attentions to the music in question, for Williams has composed an electronically affected piece that’s as stark as Alfred’s itself engaging visual element: efficient and in certain respects rather Germanic, it correlates perfectly with his collaborator’s Autobahn-obligated auxiliary stimulant to make for a sensorial masterwork that’s racy as it is incontrovertibly well executed.
It has been a year of variety and surprises as to the range of shows we’ve covered. Any singular thing does not quantify the degree of how a show leaves a deep impression as it can be one tiny detail or a grand statement. Such trivial thoughts are best left to the wind as we have pinned down the Best of 2014 for all of our loyal and still growing readers. We raise a glass to 2014 for the year that was and here’s looking forward as AF keeps an eye always to the future.
Selections from the Museum's Collection: Modern and Contemporary Art
Selections from the Museum's Collection: Modern and Contemporary Art is part of a series highlighting the Museum’s exceptional holdings and showcasing works new to Houston audiences. This installation comprises major paintings and sculptures that span the early 20th century to the present.
Todd Hebert: Selected Works 1999-2014
Xcel Energy Gallery, General Exhibition
In Todd Hebert: Selected Works 1999–2014, Plains Art Museum presents a 15 year survey of paintings and works on paper made by native North Dakotan Todd Hebert, who teaches in the Department of Art and Design at the University of North Dakota in Grand Forks.
Visitors to a Markus Linnenbrink exhibition will find it hard to believe that the German-born artist, now a resident of Brooklyn, once favoured black and white and shunned anything chromatic – even to the point of allegedly expressing a fear of color.
New Exhibition Brings Abstract Expressionist Esteban Vicente’s Signature Touch to Light:
In the hallowed canon of American abstract expressionists, the name Esteban Vicente is rarely included. And yet the Spanish-born artist—who moved to New York in 1936—put down roots in this country amidst the members of the New York School, participating in their seminal exhibitions at the Samuel Kootz, Sidney Janis, and Charles Egan Galleries, earning representation by ab-ex patron Leo Castelli, and later going on to found the New York Studio School, where he taught for 36 years.
Mercury Retrograde: Animated Realities
Brian Alfred, Aline Bouvy, Cliff Evans, eteam (Franziska Lamprecht, Hajoe Moderegger), Scott Gelber, John Gillis, Jan Nalevka, Karina Aguilera Skvirsky
Curated by Željka Himbele and William Heath
Three or four times a year, the planet Mercury appears to move backward in its orbit when seen from Earth. This optical illusion is referred to as Mercury retrograde. In popular astrology, Mercury retrograde marks intense periods when things go awry, signaling the need for reflection and revision of our lives. This is a time for veering away from the past and taking cautious steps forward. Mercury’s cycle has been speculated as the cause of major course corrections for society; it gives us a chance to grow as humans, to raise critical awareness, and possibly make a movement towards radical change.
There’s a lot of product going on here,” I heard a woman say into her cell phone at the mega-art fair Art Basel Miami Beach 2014.
Still, even in the context of the vast amount of money changing hands at the Miami Beach Convention Center, where the main fair is taking place, there are pockets of resistantly antimaterialist art, and outside its walls some performance and film are to be found.
Some of the films were made available to me for advance viewing, and among them were many worth watching. Tabor Robak’s 20XX (2013) (Team Gallery) features a lush, unthreatening cityscape overrun by neon and Klieg lights and advertisements for media and game brands on the fantasy buildings. The resurgent Babette Mangolte’s Water Motor (1978) (Broadway 1602/Sikkema Jenkins) elegantly documents Trisha Brown’s loose-limbed dancing, with a seductive repetition of the sequence in slow motion. Leo Gabin’s Oh Baby (2013) (Elizabeth Dee/Peres Projects) is a low-tech, low-production value music video with some fun editing choices. Brian Alfred’s Under Thunder and Fluorescent Lights (2104) (Ameringer McEnery Yohe) is an animation involving allusions to landscape and architecture and a mutating, colored sun.
Miami artist Julio Larraz, 70, is having a busy year. The Cuban born painter, whose work sells for upward of a quarter of a million dollars, is one of few artists with a solo gallery showing at the convention center for Art Basel. His work is also featured in a new major motion picture, Same Kind Of Different Than Me, starring a brunette Renee Zellweger and Greg Kinnear and currently filming in Mississippi.
Wednesday was the day for the privileged few — relatively speaking — at Art Basel Miami Beach.
The fair thinned the crowd this year by limiting the guest list. “It’s been lovely,” Palm Beach collector Dale Anderson said about three hours into the preview. “I don’t think it’s frenetic.” As for the art, “I’ve seen some very interesting things, but the prices. They seem to have added zeroes,” she said.
Ameringer McEnery Yohe is showing dream-like narrative paintings by Miami-based Julio Larraz. The paintings of ships, fortresses, and sheer white cliffs falling into aquamarine seas are influenced by his Caribbean heritage. The artist’s family fled Cuba in 1961, when he was 16.
Brian Alfred, assistant professor of art, will exhibit his new animation "Under Thunder And Florescent Lights" on the 7,000-square-foot outdoor projection wall of the Frank Gehry-designed New World Center as part of Art Basel, in Miami Beach, Florida, Dec. 4 to 7. Art Basel stages the world's premier modern and contemporary art shows annually in Basel, Switzerland; Miami Beach; and Hong Kong. This is the second consecutive year Alfred has been selected for the Art Basel Miami Film program.
Selected by David Gryn, Director of Artprojx, the Film sector includes over 80 works by some of today's most exciting artists from Latin America, the United States, Europe, Asia and beyond.
Film presents works in both the outdoor setting of New World Center's SoundScape Park and on six touch-screen monitors within the newly designed Film Library at Art Basel's show.
Stephen Dean's film, OLE, will screen at the Film Library (Miami Beach Convention Center, Show Floor, Hall C).
Selected by David Gryn, Director of Artprojx, the Film sector includes over 80 works by some of today's most exciting artists from Latin America, the United States, Europe, Asia and beyond.
Film presents works in both the outdoor setting of New World Center's SoundScape Park and on six touch-screen monitors within the newly designed Film Library at Art Basel's show.
Matisse Etc. (part 2)
Amy Feldman, Stanley Whitney, Bernard Piffaretti, Laura Owens, Michael Krebber, Matt Connors, Rebecca Morris, Patricia Treib, Lori Ellison, Franklin Evans)
How is it that someone who dreamed of “an art of balance, of purity, of serenity, devoid of troubling and depressing subject matter” became a source of relentless innovation and provided a map for the deconstruction (with Supports/Surfaces, Pattern & Decoration and artists as diverse as Simon Hantaï, Al Loving and Jessica Stockholder) of the very medium through which he hoped to achieve serenity? French scholar Rémi Labrusse has described Matisse’s “radical decoration” as the result of his staged confrontation between Western mimesis and Eastern decoration. Clement Greenberg, who dreamed of an avant-garde pastoral, attributed Matisse’s impact to “the paint, the disinterested paint.”
THEGRASSISALWAYSGREENER is the title of the exhibition of Linnenbrink´s most recent works at Max Estrella Gallery (the second in this space).
Colors move us. Very few people are capable of viewing the colors that surround them with indifference. They may stimulate or pacify; they can trigger unpleasant states of mind or pleasant sensations. For Goethe, seeing colors was an experience based on reciprocal energies between nature and the observer. It was a phenomenon that did something to the observer, something linking a man´s innermost being to the world around him via the detour of the seeing eye.
For this Los Angeles artist, the process of painting is highly physical, building up layers of color and then cutting away.
From a distance, David Allan Peter’s small-scale abstract paintings appear to buzz with dashes of vibrant color. These kaleidoscopic patterns may radiate over the entire panel in starburst formations, as in Untitled #13, or abutting triangles, as in Untitled #7, both made this year. But when seen up close, what look like Impressionistic brushstrokes reveal themselves to be tiny but precise indentations, carved into surfaces that have been built up with dozens of shimmering layers of acrylic paint.
In the paintings of Los Angeles-based artist Patrick Wilson, layered squares of color attain unbelievable levels of transparency and rich density. Wilson uses humble tools: he applies acrylic paint with a drywall knife or house paint roller to geometric areas of canvas edged by masking tape. Yet, in both large-scale canvases and smaller works on panel, the works’ spatial constraints seem only to distill and enhance the pigment.
Many of the artists I have selected are ones whom I already collect and admire. When I look at works to buy, I approach them with an open mind and go with instinct. Buy what you love and can’t live without!
Few contemporary artists seem as able as Los Angeles-based Tam Van Tran to confirm Picasso’s definition, “A painting is a sum of destructions.” See the selection of his recent work at Anthony Meier’s.
Whether on the scale of a big canvas such as “Flower Offerings” (2014) or the small untitled one on view, Tran gives a convincing account of abstraction as free-wheeling performance, a possibility supposedly played out 60-odd years ago, certainly no later than the deaths of greats such as Joan Mitchell (1925-1992) and Nicholas Carone (1917-2010).
The Moss Arts Center at Virginia Polytechnic Institute and State University just celebrated its one-year anniversary in October. Designed by the Norwegian firm Snøhetta, the 150,000-square-foot building has a distinct glass facade comprising numerous hexagonal panels, a recurring geometric motif that shaped the theme of “Evolving Geometries: Line, Form, and Color,” curated by Margo Crutchfield.
The exhibition [September 25- November 20] features works that engage the building’s architecture by Patrick Wilson of Los Angeles, Odili Donald Odita of Philadelphia, and German-born, New York-based Manfred Mohr. (One could just as easily have selected examples by such female artists as Sarah Morris, Franziska Holstein, or Tomma Abts.)
Painting and photography have always had a complex relationship.
Conceived as an adjunct to painting in the earliest years of its development in the first decades of the 19th century, when many painters discovered how useful photographs could be in composing their canvases, photography quickly assumed an artistic presence and legitimacy of its own (albeit one that often still took its cues from traditional painterly modes of representation).
A mind-blowing painting exhibit titled "Photorealism:The Sydney and Walda Besthoff Collection" opens to the public Saturday (Nov. 8) at the New Orleans Museum of Art. Unlike many contemporary shows, it's not an exhibit that proffers a social concept or psychological sub-text.
It's an exhibit that's about painting the skin of a tangerine so perfectly that you can almost smell the tangy scent. It's about capturing those psychedelic landscapes that you see mirrored in the curves of a polished motorcycle. It's about the everyday "Through the Looking Glass" reflections in shop windows that seem to defy space and perspective. It's about the subtle allure of fluorescent lights, saltshakers and pinballs. It's about obsessive realism that's so real it's positively weird.
In her spare, monochromatic reliefs, collages, and sculptures, Spanish-born artist Rosana Castrillo Diaz conveys rich emotional and intellectual content. Testament to this is an exhibition of the San Francisco-based artist’s recent work, which is now on view at Ameringer | McEnery | Yohe in New York. Castrillo Diaz explains, “In this body of work there is a direct connection between memory, emotions, and the physical hand at work. Each mark is a feeling, a chord, each drawing a score witness to a moment in time, a mood, a place. In the silence and introspection engendered, the quietest gesture may very well be the loudest.” And indeed, her spare, all-white wall-mounted works are often contemplative, with moments of more riotous form.
39;With Artist Franklin Evans, An Immersive Experience,' by Cate McQuaid
Franklin Evans drops viewers into his own weird wonderland. Once you’re down the rabbit hole, you may be as awed and dismayed as Alice herself.
Evans has two shows up now, at Montserrat College of Art Gallery and Steven Zevitas Gallery. Walk into his installation at Montserrat, and it’s like stepping inside a painting. Colors and lines are everywhere: on walls, on the ceiling and floor; in corridors of vertical strips of colored tape. The same is true, on a more modest scale, at Zevitas.
New Orleans, LA— The New Orleans Museum of Art is pleased to present Photorealism: The Sydney and Walda Besthoff Collection, the most extensive presentation to-date of the Photorealist painting collection of Sydney and Walda Besthoff. Unveiled with the Odyssey Gala on Friday, November 7, this exhibition will highlight one of the finest photorealist collections in the United States, based in New Orleans, featuring over 75 works.
The Photorealist collection built by Sydney and Walda Besthoff includes many of the artists associated with the first wave of Photorealism in the late 1960s and early 1970s, such as the renowned Chuck Close, Richard Estes, and John DeAndrea, and also encompasses works by more recent generations who are pushing the boundaries of Photorealism. The collection also features a broad range of engaging subject matter, from detailed cityscapes and portraits, to convincingly real close-ups of objects such as motorcycles, cars, toys, fruit, and flowers.
New Orleans, LA— The New Orleans Museum of Art is pleased to present Photorealism: The Sydney and Walda Besthoff Collection, the most extensive presentation to-date of the Photorealist painting collection of Sydney and Walda Besthoff. Unveiled with the Odyssey Gala on Friday, November 7, this exhibition will highlight one of the finest photorealist collections in the United States, based in New Orleans, featuring over 75 works.
The Photorealist collection built by Sydney and Walda Besthoff includes many of the artists associated with the first wave of Photorealism in the late 1960s and early 1970s, such as the renowned Chuck Close, Richard Estes, and John DeAndrea, and also encompasses works by more recent generations who are pushing the boundaries of Photorealism. The collection also features a broad range of engaging subject matter, from detailed cityscapes and portraits, to convincingly real close-ups of objects such as motorcycles, cars, toys, fruit, and flowers.
Steven Zevitas Gallery is pleased to present juddpaintings, an exhibition of new work by New York-based artist Franklin Evans. The exhibition will be on view from Friday 24 October through Saturday 13 December, 2014, with an opening reception Friday 7 November.
In juddpaintings, Evans presents a new installation comprised of wall painting, collage, paintings, digital prints, tape, process notes, and laminations. The exhibition presents the decomposition of his installation practice to the primary object subject of his practice: Painting. Upon entering the exhibition, the viewer passes through a threshold of a floor to ceiling installation of paint, images and process and into a gallery of walls painted bands of the color spectrum that dissolves to white. Paintings are hung on the walls and move from varying degrees of contextual mediation to an uninterrupted object on a white wall.
In the 1950s, Alan Turing, mathematician and computing pioneer, developed the Reaction-Diffusion Model, which deals with morphology—the study of how creatures take their biological forms. Using morphology in creating art isn't exactly new, but citing the visionary Turing as an influence might just be en vogue.
Galerie Derouillon is pleased to present Diary, an exhibition of new paintings by Guy Yanai. The exhibition opens on Thursday 13 November and will remain on view through 20 December 2014. The exhibition is accompanied by a limited edition catalogue, which includes a conversation with Timothee Chaillou and an essay by Barbara Sirieix.
Guy Yanai was born in 1977 in Haifa, Israel, Guy Yanai currently lives and works in Tel Aviv. He attended Parsons School of Design and the New York Studio School, and received a BFA from Hampshire College, Amherst, MA.
La Fondation Salomon is pleased to announce Abstraction, an exhibition of works by Sadie Benning, Pierrette Block, Angela Bulloch, Philippe Decrauzat, Franklin Evans, Pierre Ferrarini, Ceal Floyer, Bernard Frize, David Hominal, Steven Hull, Renée Levi, and François Morellet from the collection of Claudine and Jean-Marc Salomon.
The exhibition opens on 30 October and will be on view through 14 December 2014.
Any combining, mixing, adding, diluting, exploiting, vulgarizing or popularizing of abstract art deprives art of its essence and depraves the artist's artistic consciousness. Art is free, but it is not a free-for-all. The one struggle in art is the struggle of artists against artists, of artist against artist, of the artist-as-artist within and against the artist-as-man, -animal or -vegetable. Artists who claim their artwork comes from nature, life, reality, earth or heaven, as “mirrors of the soul” or “reflections of conditions” or “instruments of the universe,” who cook up “new images of man”—figures and “nature-in-abstraction”—pictures, are subjectively and objectively, rascals or rustics. -Donald Judd, American Dialog, Vol. 1-5
Donald Judd was an exquisite contrarian. Call him a minimalist and he’d say, no, he wasn’t. To be fair, the term itself was widely rejected by artists working at this narrow-end of the artistic spectrum, and so it was only natural that what started out as an explanation of the work, became the rules that governed both its wider understanding and presentation. Looking back, what’s become clear is that the dialogues that emerged from this era were as intrinsic to the work (from the artist’s perspective) as the work itself. In part, it was the apparatus of distinction—the breaking with old ideas that felt stale and over-used. It was a carving down to the essential nature of an object that interested Judd, but it required sensitivity to some rules-based order.
From 25 October to 30 November, the MAC exhibits the works of the finalists of the 2014 LISSONE PRIZE, an international competition for young artists under 35.
Among the practices that characterize the most current developments in painting has been inserted the "Expanded Painting," novelty item that distinguishes this year's edition. For the first time it was set up a Selection Committee which will complement the official jury in assigning the Grand Prize for painting, the Critics Award and many other awards purchase. In addition to the exhibition of selected, the newly renovated exhibition formula also includes two sections by invitation, at a national and international level, which is not eligible for prizes in money. Finally, a room will be reserved for an important teacher of the last century, as well as they used to in the sixties, with retrospective exhibitions devoted to Atanasio Soldati, Licini Osvaldo and Mario Sironi.
Anthony Meier Fine Arts is pleased to present a solo exhibition of new work by Los Angeles-based artist Tam Van Tran. Exhibiting at the gallery for the fourth time, Tran’s latest works mark a departure from the obsessive process of earlier series. Embracing the collision of opposites - addition and subtraction, miniaturization and expansiveness, natural and manmade, tranquility and chaos - Tran continues past conversations with inspired force.
Throughout his career, each body of Tran’s work has abstractly reflected on moments in his own history. In this new series, Tran shares elements of his experience of dislocation and struggle connected to his crossing by boat from Vietnam to the United States at the age of nine years.
Curated by Cristiana Perrella and Paola Ugolini
An opportunity for reflecting on sport, a subject of ever-increasing relevance in its anthropological, social, educational, economic and cultural aspects.
Determinant for physical wellbeing, sport is one of the most effective means of stimulating encounters, exchange, passion, enthusiasm and tension.
Via diverse media and with closer or more distant ties through the various historical periods, the relationship between sport and art can be seen throughout the development of western culture. Art now finds in the sporting disciplines a fertile source of cues for reflection on a number of aspects of modern society.
Helen Frankenthaler (American, 1928–2011) had her first solo exhibition at Tibor de Nagy Gallery in 1951, an exhibition that synthesized the most radical aspects of works by Arshile Gorky, Willem de Kooning, and Jackson Pollock, with ambitious canvases of textured surfaces, pale color, and calligraphic drawing. The following year, with Mountains and Sea, 1952, she created another kind of painterly space by staining unprimed canvas with oil paint while allowing telltale signs of drawing to remain.
Uniting painting with architecture, New York based artist MarkusLinnenbrink has transformed two exhibition spaces at the kunsthalle, nürnberg into a walk-all-over canvas. The floors, walls and ceiling of the german site have been pigmented with vibrantly-hued parallel streaks, traversing through the gallery’s rooms.The specific arrangement of the tones and their linear movement sees the line between two-dimensionality dissolve, simultaneously suggesting the idea of an endlessly expanding space. This color adaptation, which linnenbrink has titled ‘wasserscheide(desireallputtogether)’, evokes a wild and psychedelic sense of mobility, with an intensity that the viewer’s eye can hardly follow.
It was Heraclitus who proclaimed, “No man ever steps in the same river twice, for it’s not the same river and he’s not the same man.” This aphorism echoes through the work of Monique van Genderen. For her solo exhibition at Ameringer | McEnery | Yohe in New York, the artist has created the large-scale painting Untitled (2014), alongside six smaller paintings comprising extracts of the first. Together they form a body of work of continuous movement and endlessly shifting grounds.
Even just setting your eyes upon an optical illusion can be a disorienting experience. Just imagine what it would be like to be fully engulfed within one.
That's exactly what viewers find out upon entering Markus Linnenbrink's "WASSERSCHEIDE(DESIREALLPUTTOGETHER)," which recently showed at Germany's Kunsthalle Nuernberg. Bold streaks of fuchsia, navy blue, aquamarine and yellow swallow the entire windowless museum space, locking viewers in a mind-melting display of colors gone wild. The technicolor display, although rendered in acrylic paint covered in epoxy on resin, looks as if a box of super-sized Crayola crayons overheated and exploded all at once.
The Bilbao Fine Arts Museum is pleased to announce Hyperrealism 1967-2013, an exhibition with works by Davis Cone, among others. The exhibition will open on 7 October 2014 and be on view through 19 January 2015.
In the late nineteen-sixties, a group of artists made a name for themselves in the United States by using photography as a basis for painting everyday scenes and objects with extraordinary realism. They gelled into what became known as the Hyperrealist movement, which took flight at the 1972 Kassel Documenta and remains airborne today.
Possessing a fascinating oeuvre that includes paintings, sculptors and caricatures, Julio Larraz is now recognised as one of the most important contemporary Latin American artists of our time. Born in Havana, Cuba in 1941, Larraz and his family found themselves politically exiled, and so fled to America. Here Larraz began his artistic career, drawing political caricatures that were featured in The New York Times, The Chicago Tribune and Vogue, amongst other prominent American publications. Only some years later did Larraz assume his place as a full-time painter, and held a number of solo exhibitions across North America. Larraz was warmly received by the American art scene, and he too embraced American art; citing a number of New York artists as influences, particularly that of Burt Silverman.
Brattleboro, VT -- Wolf Kahn views himself as a liberator. The contemporary American artist said he aims to bring "landscape painting up to date" by liberating color, being free in his application and just generally trying to be "more modern than most landscape painters are."
And this message of free expression is the basis of a lecture titled "Control and Letting Go," which he plans to deliver at the Brattleboro Museum & Art Center at 7 p.m. today. A book and memorabilia signing will follow. Kahn told the Reformer he typically gives a lecture at the museum once a year and always intends to give guests their money's worth. Reservations are $10 for the general public, $5 for BMAC members, and can be made by calling 802-257-0124, ext. 101, or visiting www.brattleboromuseum.org to reserve online.
The University Art Galleries (UAG) will mount a solo exhibition of paintings by Ed Moses, utilizing all three galleries and featuring works from the 1960s to the present. Cross-Section will trace the common thematic thread binding Moses’s prolific and continuous act of exploration. In so doing, the philosophical continuity of the artist’s disparate visual strategies will be framed, strategies the artist has repeated and contradicted, as his investigation into the painted form has changed direction or reversed course over the past five decades. The curatorial perspective, in turn, will provide a rhizomatic framework to Moses’s oeuvre – a genealogy of these strategies – in place of the conventional, chronological account typically used by institutions to situate an artist’s work within historical movements alone. An accompanying exhibition catalogue, featuring dynamic color plates of the work and scholarly essays by the curators as well as the legendary art historian Barbara Rose, provides the cultural context for Moses’s mutational practice.
Art=Text=Art: Private Languages / Public Systems has been re-curated for UB Anderson Gallery by graduate students Sarah JM Kolberg, Cat Dawson, and Maddie Phinney, under the direction of Jonathan D. Katz, Director of the Doctoral Program in Visual Studies at the University at Buffalo, The State University of New York. This new presentation explores the advent of language in the visual arts in post-war America and the simultaneous emergence of concrete poetry. These practices embraced language’s ability to carry multiple, even contradictory meanings, thus creating a space for individual acts of anti-conformist thought. Through words in art, flirtations with ideas unauthorized by then-dominant socio-political realities were allowed expression, especially among an early generation of LGBTQ artists.
5 Artists on the Enduring Qualities of Representational Painting
Tucked away in her secluded Northern California home and studio, Sandra Mendelsohn Rubin has plenty of time to think about the importance of what she does on this planet:
From the beginning of human history, making marks depicting the physical world has been a constant. Our ability to question the meaning and purpose of our existence is what differentiates us from other animal species. Representation in painting touches on this core human truth. It is as much a part of our existence as storytelling and poetry. No matter the subject or content - how complex or how minimal - representational painting incorporates the gift of a narrative. That being said, representation cannot stand alone. The true poetry lies in the orchestration of a good composition combined with the skillful use of paint and color, all driven by sensory perception, intuition and memory. No matter the time in history, when done masterfully, it is timeless. In daily life, we 'look' but we do not always 'see'. We are physical beings in a tactile three dimensional world. Representation makes us pay attention to our surroundings as well as to ideas and relationships. We all have a story to tell. It is my firm belief that representational painting will always be new no matter the trends or curatorial leanings of the times."
The Bilbao Fine Arts Museum is pleased to announce Hyperrealism 1967-2013, an exhibition with works by Rod Penner, among others. The exhibition will open on 7 October 2014 and be on view through 19 January 2015.
In the late nineteen-sixties, a group of artists made a name for themselves in the United States by using photography as a basis for painting everyday scenes and objects with extraordinary realism. They gelled into what became known as the Hyperrealist movement, which took flight at the 1972 Kassel Documenta and remains airborne today.
Thanks to Wolf Kahn, the hills, forests, farms, and barns of southern Vermont may be seen in many of the world's finest art galleries, museums, and private collections. For nearly 50 years the beloved landscape painter, a leading figure in contemporary American art, has spent summers on a hillside farm in West Brattleboro. He has traveled the back roads and unmarked lanes of Windham County with pastels and sketchbook in tow, depicting the landscape in a signature style that hovers between abstraction and figuration. On Saturday, October 11 at 7 p.m., a week after his 87th birthday, Kahn will give a talk entitled "Control and Letting Go" at the Brattleboro Museum & Art Center (BMAC). Reservations are $10 for the general public, $5 for BMAC members. Call 802-257-0124, ext. 101 or visit www.brattleboromuseum.org to reserve online. A book and memorabilia signing will follow.
Tampa, September 5, 2014 – The USF Contemporary Art Museum is pleased to present the exhibition Making Sense: Rochelle Feinstein, Deborah Grant, Iva Gueorguieva, Dona Nelson open September 27 through December 12, 2014.
Making Sense brings together four artists who make distinctive contributions to contemporary painting. Through a range of approaches, they explore painting as a medium, a set of techniques, an historical institution and a framework for making sense. Inspired by WWII-era Enigma decoding machines, Rochelle Feinstein takes on puzzling figures of speech, inscrutable ideas and encrypted social codes as challenges for painterly representation. Using a method she calls “Random Select,” Deborah Grant creates imagined, non-linear narrative encounters between historical artists, interwoven with her own varied humanistic interests from literature to religion. Iva Gueorguieva adapts the visual language of modern abstraction to create tumultuous, energetic spaces on canvas; her process of building up paintings by layering torn cloth with pigment and color washes produces spontaneous, dynamic compositions rooted in personal stories. Dona Nelson’s two-sided paintings, stained and layered with strands of cheesecloth, invite viewers to encounter them as freestanding forms. Making Sense includes new works produced by Feinstein and Gueorguieva at Graphicstudio, the 45-year-old collaborative printmaking and sculpture atelier of the USF Institute for Research In Art. Curated by Margaret Miller, Director, USF Institute for Research in Art, and Megan Voeller, Associate Curator of Education, USF Contemporary Art Museum; organized by USF Contemporary Art Museum.
Roy Dowell, Iva Guerorguieva, Julia Haft-Candell, Rachel Lachowicz, Michael Reafsnyder, Jim Richards, Steve Roden, Tessie Whitmore
Opening Reception: Tuesday September 2, 6-9PM Claremont Graduate University 251 E. Tenth Street, Claremont, CA 91711 Gallery Hours: Monday- Friday 10am - 5pm
EXPO Projects IN/SITU provides exhibiting galleries the opportunity to showcase large-scale installations and site-specific works by leading artists during EXPO CHICAGO. Curated by Renaud Proch, Executive Director of Independent Curators International (ICI), the 2014 edition of the program is a reflection on artistic practice in Chicago, and on the intense exchange of ideas that the city generates.
Building on the rich tradition of geometric abstraction, three one-person exhibitions take the visual language of line, form, and color in compelling directions. In the first part of the 20th century, artists such as Wassily Kandinksky (1866-1944), Kasimir Malevich (1878-1935), and Piet Mondrian (1872-1944) explored a vocabulary of simple geometric forms—rectangles, triangles, squares, and line—in abstract compositions that addressed universal truths and utopian ideas. This tradition, carried forth, expanded, and transformed over the course of the 20th century, continues into the present with innovative approaches to the genre by:
Franklin Evans’ site-specific, all-encompassing environments include unstretched canvases, wall paintings, photos, sound and theoretical texts. Celebrating connections over divisions, Evans’s work brings images and ideas together through indexing, cataloguing and mapping.
Montserrat College of Art is proud to present juddrules featuring New York-based artist Franklin Evans. While Evans considers himself first and foremost a painter his works are process-based physical environments, surrounded by the very source materials that conceptually inform his paintings. “It’s like walking into a painting,” describes Evans, anticipating how Montserrat Gallery will evolve into a ‘landscape’ of ephemeral and factual materials over the course of his three week residency.
The paintings of Monique van Genderen are something to move into: spaces defined by shape, color, depth, and motion. Van Genderen, a self-described nonobjective abstractionist, is hard to pin down to a particular genre or art movement, although her work touches on quite a few — including Abstract Expressionism, color-field painting, and Abstract Illusionism — while remaining in a class by itself. “I am working with a lot of elements of illusion, specifically conceptual illusions, playing with people’s expectations of what they’re looking at,” she told Pasatiempo. “Sometimes I landed in the color-field genre because I was making more reduced paintings with shapes I collaged together. But I’m really attempting to make every painting pretty different.” With notable, well-received exhibits on both coasts under her belt, van Genderen, a Los Angeles-based artist, comes to Santa Fe for her inaugural show at TAI Modern.
This exhibition of new acquisitions brings together recent gifts to the Roanoke College's Permanent Art Collection that augments the strengths of the College's diverse holdings. Works represent internationally and nationally known artists: Derrick Adam, Ricky Allman, Michelle Arcilia, Dennis Ashbaugh, Pattie Lee Becker, Alex Brown, N. Dash, Franklin Evans, Clare Gill, Tatsuro Kiuchi, Mike Montero, Carrie Marill, Gary Peterson, Valerie Roybal, Mark Uriksen, and Firooz Zahedi.
Entering Ameringer McEnery & Yohe, those who have followed Franklin Evans’s work over the last 10 years will recognize the artist’s application of readily accessible, process-spun materials to the gallery walls and floor. Materials that might otherwise be pulled from a painter’s trashcan, including paint-scuffed masking tape, clippings from photo albums and incomplete works on paper, are positioned in bursts of action that may at first seem disorganized. The solo exhibition, “paintingassupermodel,” is Evans’s first at Ameringer and succeeds as a personal rumination on Yve Alain Bois’s 1990 bookPainting as Model. Celebrated abstract paintings by Matisse, Mondrian and Newman, which Bois discusses in his book, make appearances in the exhibition.
German American Abstract ExpressionistHans Hofmann credited his time teaching painting at UC Berkeley in the early 1930s for his "start in America as a teacher and artist."
Hofmann thanked the university with a gift of nearly 50 paintings representing the breadth of his life work, from Surrealist-influenced compositions to more physical and abstract images. The paintings are on display at the UC Berkeley Art Museum through Dec. 21 and represent the largest collection of the noted painter's work in any museum.
A thought-provoking exhibition of twenty-first century painting, sculpture, video and furnishings representing the newest abstract work from today’s best artists. NOW-ISM features international emerging stars like Sarah Cain, Diana Al-Hadid and Florian Meisenberg and established artists including Columbus’ own art star Ann Hamilton, Jim Hodges, Teresita Fernández, Jason Middlebrook, Carrie Moyer and Pia Fries. The show will include more than 100 works spanning all three floors of the space.
A thought-provoking exhibition of twenty-first century painting, sculpture, video and furnishings representing the newest abstract work from today’s best artists. NOW-ISM features international emerging stars like Sarah Cain, Diana Al-Hadid and Florian Meisenberg and established artists including Columbus’ own art star Ann Hamilton, Jim Hodges, Teresita Fernández, Jason Middlebrook, Carrie Moyer and Pia Fries. The show will include more than 100 works spanning all three floors of the space.
A time-lapse video of Markus Linnenbrink painting the installation THERIDENEVERENDS. The painting was completed over the course of seven days in June, 2014.
In an attention-compromised age when images are instant and prevalent, abstract painting serves as a contradiction, acting as a conduit for the mark of the original, individual artist. While most of the work in the exhibition has been recently created and acquired, additional paintings culled from LACMA’s collection illustrate how artists have reanimated techniques and forms using other sources that are appropriated from popular culture, photography, and collage, essentially creating a new variation of abstract painting.
Franklin Evans, “paintingassupermodel,” at Ameringer | McEnery | Yohe through August 1
Understated and subtle are two adjectives that will never be applied to Evans’s work. For his debut at this gallery, he cannibalizes the entire space — including the floors — creating a massively dense, referential installation that’s terrifically entertaining to get lost within. Paint-spattered tape, computer print-outs, enlarged-and-stretched digital photos, and architectural schematics cover the walls; Plexi vitrines hold photographs and tiny sculptural odds-and-ends.
Daily Pic: Franklin Evans Shows Us Painting Today
This is a view into a manic installation called “paintingassupermodel,” by Franklin Evans. It’s now filling the Ameringer McEnery Yohe gallery in New York. The title is a clever updating of “Painting as Model,” the name of a famous 1993 book by art historian Yve-Alain Bois, sped up to the pace of the 21st century. There’s not even time for a break between words.
Evan’s installation does a pretty good job conjuring the feel of art as it is now experienced, as a ceaseless barrage of image and information and commerce that we’re supposed to take as-is, without too much processing or doubt. “Paintingassupermodel” levels the playing field between Matisse and Photoshop. What I couldn’t decide, as I took in the piece, was whether its frantic complexities acted as an invitation to dig deep to figure them out, or to skim along across their surfaces.
Light3 at the Fridman Gallery in New York, curated by Lilly Wei, is a must-see for anyone interested in the multiple ways in which light challenges our perception of colour, form and structure. The exhibition features the work of Stephen Dean, Jan Tichy and Ethan Ryman, three artists with very different sensibilities, who employ light as a means of defamiliarising what we see. Studio International had the opportunity to speak with Dean and Tichy about their work at the gallery. Ryman answered our questions via email.
Yve-Alain Bois’s book Painting as Model was written twenty-odd years ago and continues to be an important text, providing conceptual fodder for many contemporary art practices. A case in point is the current exhibition of painting and installation by the artist Franklin Evans where a physical copy of Painting as Modelsits up front and center on the gallery floor while material unleashed from the book orbits about the space.
With installations of Cornelia Baltes, Benjamin Houlihan, Markus Linnenbrink, Claudia & Julia Müller, Christine Streuli and Alexander Wolff
Traditionally, based on two-dimensional painting, and can only reflect the image of a three-dimensional space. The group exhibition Off the Wall! Image spaces and space forming but r presents positions of contemporary painting that make these classic two-dimensional self-conscious questioning. The invited artists expand the painting, by not restricting their works on the flat image carrier, but include the external architectural surroundings with. Her painting is the volume way up, expands and reaches into the third dimension. It occupies the exhibition space, for example through sculptural and installation-process or by the exhibition space - including the walls and floors - is at an all-over painting. "! Off the Wall" The exhibition title is always ambiguous to understand: In its literal translation it means as much as, but at the same time is in the English language for "unorthodox" or "" Off the Wall "" Off the Wall! " unconventional ".
If you walk by Pennsylvania Academy of the Fine Arts' Hamilton Building this week, you’ll be greeted by a colorful new surprise.
The legendary fine arts institution has commissioned German-born, New York-based contemporary artist Markus Linnenbrink to create a 118-foot vibrant masterpiece in the entrance hall. He is well known for his abstract, layered, colorful works.
The contemporary New York art world has a backstory, rarely consulted, that begins in the optimistic 1920s and moves on to the bleak 1930s, a decade of Depression and institutional indifference to such local figures as Willem de Kooning, Jackson Pollock, and Mark Rothko. Then came the 1940s, with its succession of astonishing breakthroughs, followed by the ’50s, which trained the spotlights of critical recognition and market success on so many of the pioneers, who by that time had been gathered under the Abstract Expressionist label. As the ’60s began, even some of the second-generation practitioners of AbEx—Alfred Leslie, Joan Mitchell—were acquiring high profiles. But not George McNeil, even though he belonged to the first generation.
The studio is where it's at - that's ground zero where the artist's thought process and experimentation explode into fruition. Now what if you take that investigation into the gallery interior and set it free all over? AF walked into the solo exhibition of Franklin Evans for paintingsassupermodel last week to witness the full color explosion come to life. Maybe there was no Gisele Bundchen or Chanel Iman aka Super Models present but art was definitely making itself known in Super Sized doses.
James Kalm visits the exhibition Franklin Evans: paintingassupermodel at Ameringer | McEnery | Yohe, New York, on view through 1 August 2014.
Kalm notes: "Franklin Evans has been receiving much critical attention for his blurring of painting, the studio and installation. Using the rubbish of his studio practice, particularly used masking tape and paint stained cloths, the artist fills the gallery top to bottom with colorful remnants, wall paintings and enlarged photos from previous installations, thereby presenting these projects as accumulations not only of materials, but also of memories.
The exhibition examines football - nicknamed "the beautiful game" by one sports commentator - and its significance in societies around the world. As a subject, football touches on issues of nationalism and identity, globalism and mass spectacle, as well as the common human experience shared by spectators from many cultures. Celebrating the sport on the eve of the 2014 World Cup in Brazil, the exhibition includes approximately thirty artists from around the world who work in video, photography, painting and sculpture. Two room-sized video, photography, painting and sculpture. Two room-sized video installations - Zidane: A 21st Century Portrait, by the artists Philippe Parreno and Douglas Gordon, and Volta by Stephen Dean - anchor the exhibition. Other works by artists including Miguel Calderon (whose 2004 video Mexico v. Brasil represents a 17-0 victory for Mexico). Robin Rhode, Kehinde Wiley, and Andy Warhol provide a sense of the miraculous possibilities of the sport as universal conversation piece.
Closing their season, the Bedford Gallery will narrow its focus to the physical and historical world of the skull. The Skull Show examines the role that skulls have played in the historical register, as memento mori, traditional religious icons, and vanitas themes in still life paintings. The Skull Show will also highlight the role the skull has played in the contemporary arts, exploring its appearance in counter cultures such as skate, surf, tattoo, as well as urban graffiti projects.
The title 200 Years in Power represents both the name of the show and the painting on the cover. Julio has always wanted the viewer to establish a narrative based on their own imagination. The characters in the painting should also be left for the viewer to contemplate and determine for themselves, but the simple meaning of the title and the work is the "usurpation of power, or the abuse of power". Julio's characters are hand picked and may not relate directly to the subject matter at all. Other times, there is a crystal clear connection that forces ones imagination in a certain direction.
Julio's inspiration is often unique and distant. In The Mind's Eye he discusses how images come to him as if in a dream and his constant attempt to capture them before they disappear. His works are generally combinations of visual images that come to him mixed with philosophical questions that he is contemplating internally. Julio prefers to not discuss too much of the visions and complexity within his imagination, as he prefers to allow the work to be a question, provoking thought and investigation within ones own imagination.
As part of the launch of its new office, Morrison & Foerster commissioned prominent New York artist Markus Linnenbrink to produce eight original 9-X-42-foot paintings for the space. Each of the oversized works will adorn one of the firm’s eight elevator lobby areas. The paintings reflect Linnenbrink’s trademark style of using the medium of acrylic and a myriad of pigments to form a full spectrum of colors on wood panels.
While light has long been associated with the spiritual and metaphysical, Stephen Dean, Ethan Ryman and Jan Tichy emphasize its more phenomenal and psychological qualities. In their work, it is treated analytically—although not without a sense of the poetic—as a means to comprehend and engage with the world.
Markus Linnenbrink will be exhibiting in his neighborhood of Bushwick for the first time, showing his large-‐scale painting MEINWILDEHERZ and other recent work. MEINWILDEHERZ embodies layers of emotion, memory and a passion for the gestural abstraction of the mid-‐20th century Abstract Expressionists.
There’s nothing soothing about Iva Gueorguieva’s dense, elastic, collaged paintings at Samson. Many of them have the look of a city imploding. Lines tangle, planes twist and bend; forms shatter. With colors, collisions, and veering angles, she sends a viewer’s eye ricocheting.
Caribbean: Crossroads of the World will highlight over two centuries of rarely seen works—from paintings and sculptures to prints, photographs, installations, films, and videos—dating from the Haitian Revolution to the present. This exhibition employs an inter-disciplinary approach to advance our understanding of the Caribbean and its artistic heritage and contemporary practices. It focuses on four central themes: Fluid Motions, Counterpoints, Shades of History, and Kingdoms of this World. These interconnected frameworks allow insight into the complex context from which the vital and varied artistic production of the region has emerged, illuminating the multiple histories of the region.
Julio Larraz's featured work from 2013 is titled Traffic.
The earliest painting on view in Wolf Kahn: Six Decades is a large landscape-derived abstraction from 1960 titled “Into a Clearing.” It features a loose, pulsing welter of brushstrokes that coalesce into lush zones of breathing, blooming color. “Weaving Gray and Yellow,” another oil on canvas completed fifty-four years later, and also on display in “Six Decades” shows a similar gestural approach but with added notes of linearity and a little less painterly vapor. Consistently in love with landscape — and the idea of landscape as an abstraction — Wolf Kahn has lovingly built a very vivid and beautiful oeuvre since first exhibiting his paintings at the Hansa Gallery, one of New York’s first co-op galleries, nearly sixty years ago.
Curated by Li Zhenhua, director and founder of Beijing Art Lab, the Film sector presents an exciting program of films by and about artists.
Screenings take place in the agnès b. cinema at the Hong Kong Arts Centre.
At 86, Wolf Kahn is still a firecracker. The painter — who has spent the majority of his life in New York, and who is known for vibrantly colored landscapes and nature scenes — is the subject of a six-decade retrospective on view at Ameringer McEnery Yohe through May 31. “The earlier the painting is, the better it seems to me to be,” Kahn deadpanned, thinking back to some of the canvases he produced in the early ’60s. “I think I’ve gone downhill ever since.” On a more serious note, he’s proud of himself for not resting on his laurels: “Here I am, still trying to do things that I don’t know how to do, strike out in new directions. I think that’s very healthy, and I consider myself fortunate.”
The work of New York-based artist Brian Alfred examines the relations between the media and the real, underscoring the gap between reportage and first-person experience. Alfred's sources of reference range from news items, which aspire to etch their images in the consciousness of all, to sights taken by Alfred himself while traveling. Two primary means to his work - fragmentation and abstraction - take us back in their directness to the experimental works of early modernism. Alfred uses the fragment to claim the viewer's alertness, but as opposed to the avant-garde artists, the world from which he reports appears to be already saturated with and inured to sensations.
Don't be fooled: they're not pretty. They might be harmonic, but dissonance dominates. And while they're birthed in a series of personal reveries, every time in the outcome they're social. I recall Adorno thought Schoenberg was valid because his meticulously-fractured, mathematically-battered structures perfectly mapped the world from which they withdrew. And later it was: yes to poetry after Auschwitz...provided it's a scream. You might think this too heavy given the living color and the hypnotic-magnetic allure of Iva's toppling geometries. But that's why I start with a warning. Don't look away; trust the nauseous corner of your eye. Three out of four paintings are mean and the fourth one is an apocalypse.
For nearly 35 years, while the art world has hemmed and hawed, painter Sandra Mendelsohn Rubin has steered a steady course. As Rubin's subject matter has progressed -- most recently Rubin has been painting aerial views -- her technique has remained consistently spellbinding. Rubin builds up the surfaces of her work with undiluted, unglazed layers of oil paint applied with uncanny precision. The resulting paintings, which are often small in scale, demonstrate the artist's deeply felt exploration of her surroundings and also her sense of their underlying energies.
Western Project is proud to present the third solo exhibition by Los Angeles artist, Patrick Lee. For over ten years Lee has worked on his series Deadly Friends; an investigation into the lives of men on the streets of America. Looking to understand the subtle and often forceful appearances of men the artist has created a body of work this time inspired by the environs around LA City Jail and the nearby Union Station.
Timepaths, a process-based multi-media installation by Reno-born artist Franklin Evans, served as the inspiration and the backdrop for RENO Magazine’s spring fashion spread. The installation, housed at the Nevada Museum of Art through April 20, investigates the complex paths Evans has taken as a contemporary artist.
Many words have been spilled recently, by artists in particular, over the perennial question: New York or Los Angeles? On the occasion of Kevin Appel’s first solo exhibition in NYC since 2009, and his first ever with Ameringer | McEnery | Yohe it seems we may have found one of the more levelheaded voices yet to enter the conversation. “Los Angeles has always had a bit of an identity crisis, partially due to the external view of L.A. as having this superficial mentality tied to the film industry,” explains the photographer-cum-painter, an Angeleno for all his life save for a brief stint studying in Manhattan. “It doesn’t have a long lineage of a canonical or intellectual history, as opposed to New York.”
Nearly 50 visits in and I finally made it across the river to draw, spending the day with Franklin Evans in his studio in the Lower East Side a couple of Saturdays ago. After making my way down Bowery, I looked up to see short neon strips of tape and painted pieces of paper that were missing their center squares, dangling from the inside of windows of a second floor apartment building. I knew I was in the right place. I had the overwhelming feeling of having been in this studio before when I walked in to his space. I soon realized I was thinking back to the strong impression his elaborate mixed-media exhibition at Sue Scott Gallery had on me in the spring of 2012. It was a memorable glimpse into the artist's mind, studio, and process. Evans was breaking the fourth wall with that exhibition and remembering it made me even more eager to begin my drawing.
Material Images” brings together 10 artists whose practices encompass a diverse range of formal and procedural strategies. Tying them together are their concerns with abstraction and issues of materialization surrounding the status of images today.
Kari Altmann, Trudy Benson, Petra Cortright, Franklin Evans, Lauren Luloff, Michael Manning, Jessica Sanders, Kate Steciw, Rebecca Ward and Jeff Zilm
Iva Gueorguieva’s (NAP #73) paintings, on view at Ameringer | McEnery | Yohe in New York, bring a breathe of California sun to our frigid New York winter. Working up the surfaces of her large canvases into almost a fetishized frenzy, the paintings are abstract, yet indicative of movement. By denying viewers the ability to rest their eyes on any one component for too long, her works are both mesmerizing and disconcerting, inducing frustration as one tries to pinpoint figures or structures within the compositions. Fractions, edges, and suggestions of such imagery exist, but are ungraspable as they dissolve into the chaos of each scene.
Arthur Peña: The role of history plays a big part in your work. This operates in two modes of objective history such as art historical content and the broader negotiation with our past and also the subjective history of your decisions that rest within the painting. How do you mediate between these two sets of history as content?
Iva Gueorguieva: I believe that we all carry within our flesh the memories, desires and traumas of the previous generations. There is a muscle memory that becomes alive in the act of painting and I feel it.
You think I’m describing your lover to you, exactly the night you met, twenty years ago. “But what about...” you begin, and think better of it, allowing me my impressions, limited and one-dimensional compared to yours—you, who sought and found all the ecstatic tickling flutters and sudden despairs of the heart, explored every hill and dale of their form, caught every nuance of manner and nervous tick.
But I’m not writing about your lover. This is about the paintings and sculpture of Iva Gueorguieva, the emotionally rife and viscerally electrifying works with which you, I, or anyone else, may become intimately acquainted in very personal and differing ways. You may see the small patch of blue that makes you want to cry; I, the red flutter of lines that burns magnetic like solar flares; someone else, the dark, dark lagoon harboring a gravitational pull like the center of the galaxy. Her marks and shapes feels more like moments in time – a millisecond in the midst of furious activity – than like areas of space filled with paint. If you really get to know Women and the Ocean (2013) or Suitor (2013), as you would a partner, you’ll find that these paintings have lives of their own.
Rod Penner's small, meticulously painted landscapes of Texas and its environs, all from the last three years, pack a hefty amount of big sky and small town into their abbreviated formats. Penner pictures cafes (including a beautiful one showing a neon "Mexican Food" sign's reflection shimmering green on the rain-slicked surface of the parking lot), as well as convenience stores, laundromats, garages, houses along highways, nondescript main streets, and strip malls. Numerous gas stations are shown that might or might not be abandoned.
Julio Larraz was born in Havana, Cuba, 12 March 1944. The son of a newspaper editor, he began drawing at a very early age. In 1961 his whole family moved to Miami, Florida. In 1962 they moved to Washington, DC, and in 1964 to New York. There he began to draw political caricatures that were published by The New York Times, The Washington Post, The Chicago Tribune and Vogue magazine, among others.
If Patrick Wilson tossed a pebble into a pond, the ripples that emanated from it would probably take the shape of perfectly formed squares or nicely proportioned rectangles. That is the image his exhibition, “Steak Night,” leaves the viewer: an impossible change to the laws of nature that brings you face to face with a world more beautiful that the real one.
In the realm of high-modern abstract painting, the color purple rarely gets the spotlight. The hue doesn't have its own Picasso phase, like rose or blue. And let's face it: Jackson Pollock's "Lavender Mist" is light on the lavender and heavy on the black and white. So it's exciting to watch Hans Hofmann play with purple and give it center stage in a pair of works on view right now at Ameringer | McEnery | Yohe.
Susanne Vielmetter Los Angeles Projects is pleased to announce the gallery's first solo exhibition with Los Angeles-based painter, Michael Reafsnyder.
Inspired by the CoBrA movement and abstract expressionism, Reafsnyder's paintings are thick with paint, exuberant gestures, and vibrant color. He uses indulgent amounts of acrylic to build compositions that prioritize the surface of the canvas; proposing an experience of painting that is as tactile as it is visual. Concerned with pleasure, joy, and frivolity, his work galvinizes sensory experiences and challenges historical cliches of the artist's psychic self-expression and metaphysical drama.
Susanne Vielmetter Los Angeles Projects is pleased to announce the gallery's sixth solo exhibition for new work by Patrick Wilson. Wilson is known for creating finely calibrated, luminous abstract paintings composed of lines and quadrilaterals. He uses a simple and straightforward medium, paint on canvas, to build a richly layered composition of complex spatial dynamics.
Made between 1961 and 1985, the eight enormous acrylic-on-canvas paintings by Gene Davis in this show - all composed of vertical bands and stripes - testify to the artist's devotion to color. "To understand what my painting is all about," Davis once said, "look at my painting in terms of individual colors...select[ing] a specific color such as yellow or a lime green, and take the time to see how it operates across the painting." When one looks at Yellow Jacket, 1969, one notices yellow used in a variety of ways: On the right, narrow vertical lines of yellow are tightly interspersed with orange lines; on the left, blue and pink stripes are sandwiched between relatively wide bands of lemon; and in roughly the center, medium-size gold stripes emerge from within a broad swath of lime green. The result is a dazzling irregularity - the yellow takes on a variety of qualities, multiple personalities. Larger, toneless vertical lines on either side contain the painting more or less in half. The work's eccentric yet reasoned structure, coupled with the colors' various tones and intensities, makes for an ingeniously polyphonic musical painting.
Art Basel presents a premier program of films by and about artists, selected by David Gryn, Director of London's Artprojx, and Zurich collector This Brunner. Gryn's 2013 program presents over 70 film and video works drawn from the show's participating galleries.
The third edition of David Gryn's selection for Art Basel's Miami Beach show explores the collaborative creative process via intersections between visual artists, composers, musicians, choreographers, dancers, and animators.
There are worse things you could do with The New York Times than cut blocks of color out of its photos and advertisements and glue them together, as Suzanne Caporael does, into elegant, postcard-size, abstract collages. In 028 (like calculus), five superimposed sections make a neat white frame around a vertical bicolor of violet-black and pale blue. A golden yellow curver sinks down from the top toward a white square with a muddy purple corner folded in. A slightly muddled edge above the darker half, three round bumps at the bottom, faint white lines where the framing newsprint covers another piece's edge, some type on the verso just barely showing through, and the partial date - the piece was made this year, sometime after the 10th of a month ending in "y" - all pull together, as curated accidents and gracefully understated decisions.
On January 15, 2014, the Montclair Art Museum will celebrate its centennial. On view will be a collection-based exhibition throughout the Museum and its grounds, with 100 works reflecting its rich cultural history and legacy.
In a series of conversations held over the past summer months and into a fall museum installation, artist Franklin Evans spoke with artist and Art Books in Review editor Greg Lindquist. The two discussed the relationships of Evans’s process-based painting installations to Internet media, digital technologies, and the related phenomena of discontinuous focus. Evans’s solo exhibition timepaths opened at the Nevada Museum of Art on October 5, 2013 and will remain on view until April 20, 2014.
Rod Penner, a Texas-based photorealist, is currently showing a selection of his painstakingly crafted paintings of small town Texas at Ameringer | McEnery | Yohe in New York. The exhibition – which New York Magazine hailed as “superb” – includes a suite of six inch square paintings that feature bravura depictions of tire stores, muddy roads and rutted asphalt.
New York, New York - Ameringer | McEnery | Yohe is pleased to announce that Brian Alfred is now represented by the gallery.
timepaths is a process-based, multi-media installation by Reno-born artist Franklin Evans that investigates the complex paths he’s taken as a contemporary artist. Now living in New York and showing in galleries internationally, Evans first started painting at Stanford University as an undergraduate in 1987. At that time university art programs tended to maintain distinct boundaries between various media. Evans, however, sought a more complex visual language and began to explore the dissolution of distinct media through collaborations with choreographers, writers, and curators. His resulting installations take on the appearance of labyrinthine studio spaces where materials from diverse times and places in his life provide context and are given equal attention.