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!
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.”
Galerie Anita Beckers is pleased to present "Sculptural Surfaces," an exhibition of works by Pia Fries and Liat Yossifor, curated by Ludwig Seyfarth.
An opening reception will take place on 6 September from 7:00 - 9:00 p.m.
"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.
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
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.
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.
Fox Jensen McCrory is delighted to be able to present the paintings of three magnificent artists, Erin Lawlor, Liat Yossifor and Aida Tomescu.
"Wet Wet Wet" will have an opening reception on Thursday 14 February
Both Yossifor and Lawlor offer the viewer multiple entry points from which to navigate their “alla prima” performances. Lawlor’s looping brushwork leads us into a sublime and certain entanglement of colour and insinuated form from which we are reluctant to leave. Yossifor’s weave is somewhat grittier and heavier as her Ariadnean thread is physically etched into the viscous surface in a collage of asphalt turnpikes and tributaries seemingly without exit.
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.
"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.”
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.
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