Debra Wolf reviews “Luxe, Calme et Volupte” in the Atlanta Journal-Constitution: “Order and beauty form the organizing principle in an engaging new painting exhibition at Marcia Wood Gallery curated by artist and writer Joanne Mattera. She borrows her concept from 19th-century French poet Charles Baudelaire and his poem ‘L’Invitation au Voyage’ ….Using Baudelaire and Matisse as a springboard for contemporary expression, Mattera’s dual premise for themes of duality is both clever and effective. Mattera’s selections are smart and pleasing in a show that combines control and creativity, visual and tactile harmony, and individual refrains of luxe, calme et volupte.” Read more. “Luxe, Calme et Volupte,” Marcia Wood Gallery, 263 Walker St., Atlanta through Aug. 25.
Award-winning blogazine, primarily about painting
Saturday, May 27, 2023
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The Exhibit: Just another gig
Contributed by Adam Simon / I only watched parts of The Exhibit: Finding the Next... -
Ethel Schwabacher: Canon-adjacent?
Contributed by David Carrier / Revisionist arguments about who should be counted among the artistic... -
Conversation: Bob Szantyr and Valery Jung (정) Estabrook
Two Coats of Paint has had an eye on Bob Szantyr since discovering his compellingly... -
Triangulating David Hammons: The Melt Goes On Forever
Contributed by Jonathan Stevenson / Getting an authoritative grip on a conceptual artist as elusive... -
Ernst Caramelle: Look closely
Contributed by Marjorie Welish / As faithful to his subject as he is charming in... -
Jan Dickey: Both sides now
Contributed by Heather Drayzen / “Passing Through,” the title of Jan Dickey’s solo exhibition at... -
Jennifer J. Lee’s ghostly familiarity
Contributed by Kyle Hittmeier / Jennifer J. Lee’s reactivation of shelved digital images through painting... -
Bushwick: Cause-and-effect at M. David & Co.
Contributed by Jonathan Stevenson / Fifteen years ago, Jason Andrew was one of relatively few... -
Savoring medium-rare painting at Subtitled NYC
Contributed by Zach Seeger / The group exhibit “Medium Rare” – on display at Subtitled... -
Kyle Dunn’s shadowy exuberance
Contributed by by Margaret McCann / The theme of nocturnal interiors in Kyle Dunn’s solo... -
Rita Ackermann’s alternative dimension
Contributed by Jeffrey Grunthaner / Currently on view at MASI Lugano in Lugano, Switzerland, Rita... -
Mie Yim: Hazardous and barely fictional
Contributed by Clare Gemima / Painter Mie Yim evidently can't quite understand how exciting she...
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On the UES yesterday I stopped in to see Andrea Marie Breiling’s solo
“Swallowtail” at @alminerech. In the press release the artist says that the paintings are like the swallowtail butterflies in that the closer you get to the work, the more the surface begins to reveal its details, but honestly the details don’t really seem important, overwhelmed as they are by the brash color, the mesmerizing circular action of the mark making, and the mural-sized scale. Natural wonder doesn’t stand a chance next to Breiling’s industrial strength vision, but maybe that’s the point. Love the illusion of depth and the sense of light. On view through June 10.
@alminerech @andrea_marie_breiling #futurism #contemporarypainting #LAPainting #LAArtist
Latest post, link in profile / Ethel Schwabacher: Canon-adjacent? / Contributed by David Carrier / Revisionist arguments about who should be counted among the artistic elite, whether they be old masters or modernists, provide essential stimulus in the art world. They proceed in an established manner. Some reasonably influential figure contends that a significant artist has been unjustly excluded from a particular art canon. Commentaries are published and shows organized making the case for supplementing it. The recent amendments to the predominantly white male Abstract Expressionist elite have proven especially tricky, as issues of gender and race enter the picture. Does Alma Thomas belong? Norman Lewis? What about Ethel Schwabacher? With “Woman in Nature (Paintings from the 1950s)”, Berry and Campbell argue energetically, though not entirely convincingly, that she deserves a place. Link in profile
#davidcarrier #ethelschwabacher @berrycampbell #womenpainters #1950spainting #abstractexpressionism @carrier3909 #twocoatsofpaint
Spread across two floors at Magenta Plains, Jennifer Bolande’s solo, “Persistence of Vision” is as compelling as it is enigmatic. Downstairs, Bolande captures images of fragmented scenes and objects (perhaps from dusty road trips in an old muscle car?), a series of moments that manifest deeper meaning. The work upstairs focuses on the handmade. Rachel Kushner, are you out there? Through June 17.
@magentaplains #jenniferbolande #rachelkushner #lesgalleries #magentaplains #persistenceofvision #contemporaryphotography #plastersculpture
This afternoon I spent some time @platformprojectspace talking with artist (and curator for this show) @franklinevansart and gallery director @elizabethhazan during the last day for “Philosophicalinvestigations” a lovable group show that included faded images of exhibitions past and work by artists who are showing for the first time in the space. It has been a glorious celebration of Platform’s first five years 🎉😀🏆 Congratulations Elizabeth and Franklin. Great show.
#philosophicalinvestigations #franklinevans #elizabethhazan #platformprojectspace
Latest post, link in profile / Rita Ackermann’s alternative dimension / Contributed by Jeffrey Grunthaner / Currently on view at MASI Lugano in Lugano, Switzerland, Rita Ackermann’s solo show, “Hidden,” offers a rare melding of museum-oriented historicism with gallery-style directness. Occupying two cavernous rooms in the museum’s bottom floor, the exhibition comprises four bodies of work, ranging from early sketchbook collages prefiguring Ackermann’s iconic “nymph” paintings of the 1990s to more visceral canvases that explore erasure and disappearance. It culminates in three monumental paintings from Ackermann’s most recent series, War Drawings, which recall murals while also resembling magnified pages of an exploded notebook. Link in profile
@ritaackermann @masilugano @shadowblockedthoo #figurativepainting #ritaackermann #jeffreygrunthaler
Shout out to Salon Zürcher, a satellite fair of Frieze New York, for their 28th Edition of “The Women of Spirit” series, on view through May 21. Artists in this iteration include Bettina Blohm, Petey Brown, Sue Collier, Fukuko Harris, Nancy Manter, Victoria Palermo, Sacha Floch Poliakoff, Jo Ann Rothschild, Sonita Singwi, Jenny Tango, April Vollmer
Images are tagged. Sorry I didn’t take more!
@bettinablohm @__petey.brown__ @Sue_Collier @hukuharri @nmanter2 @victoriapalermostudio @sachaflochpoliakoff @jo_ann_rothschild @sonitasingwi #JennyTango @aprilvollmer_artist
#zurchergallery #womenofspirit #friezenewyork @zurcher_gallery @friezenewyork #twocoatsofpaint #womenartists
Psychedelia reigns @frosch.and.co with JOE WARDWELL’s solo “Present Company Excepted.” These wild layered paintings are harder to read in person than they are in JPEGs. The extra-bold texts all focus on American political divisions and pandemic/post-pandemic anxieties. Through May 28
@joe_wardwell @brandeis_finearts @frosch.and.co #joewardell #froschandco #chinatowngalleriesnyc @uw_paintingdrawing
Jonathan Ryan’s surreal, beautifully-executed landscape paintings remind me of “City,” Michael Heizer’s sprawling land art project built on a desolate outpost in Nevada that looks like a bomb site. Or post-extinction landscapes. Or a miniature golf course on another planet. On view @hesse_flatow through Saturday.
#jonathanryan #hesseflatow #landscapepainting #michaelheizer #miniaturegolfpaintings
Latest post, link in profile / John Walker: Invisible dimensions / Contributed by Lisa Taliano / You need to be in front of a John Walker painting in order to get it. Its luminous qualities, the movement, scale, and touch of the brush...link in profile.
@alexandregallery @ltaliano @johnwalkerpainter #JohnWalker #alexandregallery #twocoatsofpaint
