As promised in part one earlier this week, Julie Torres has sent her second report from Hudson‘s thriving gallery scene. Julie was a longtime – and much-loved! – Brooklyn resident who recently moved upstate, and while we miss having her nearby, we’re itching to visit her new neighborhood for ourselves. Looking at the photo round-up Julie sent, Hudson looks a bit like a painting oasis –judge for yourselves.
“Erik Schoonebeek: Tender Trap” at Jeff Bailey Gallery. Erik Schoonebeek, Too Much for Title, 2016, gouache and acrylic on book cover, 5 x 7 inches.Erik Schoonebeek, Scene From a Play, 2016, acrylic on found paper, 9.5 x 12.25 inches.Erik Schoonebeek, Hidden Smile, 2016, gouache and acrylic on book cover, 5.5 x 8.5 inches.Erik Schoonebeek, Blume, 2016, gouche on book cover, 6.25 x 7.75 inches.Erik Schoonebeek, Almost Touching, 2016, gouache and acrylic on book cover, 5.5 x 9 inches.Erik Schoonebeek, Young Leen, 2016, gouache and acrylic on book cover, 12.25 x 16.75 inches.Also at Jeff Bailey: Christian Maychack. Compound Flat #50, 2016, epoxy clay, pigment, and wood, 16.5 x 12 x 1.5 inches.Christian Maychack, installation view.Christian Maychack, Compound Flat #56, 2016, epoxy clay, pigment, and wood, 10.75 x 14.5 x 13.5 inches.Christian Maychack, Compound Flat #52, 2016, epoxy clay, pigment, and wood, 16.25 x 15 x 1.5 inches.Christian Maychack, Compound Flat #54, 2016, epoxy clay, pigment, wire, mesh, and wood, 36.5 x 24 x 3.25 inches.Christian Maychack, Compound Flat #53, 2016, epoxy clay, pigment, and wood, 58 x 20 x 1.75 inches.“Blue Jean Baby” is the inaugural exhibition at Kristen Dodge’s new space, called the September Gallery. Readers may recall that Dodge used to have a gallery in the storefront that Betty Cuningham now calls home� on the Lower East Side. Image above: Odessa Straub.Jennifer Paige Cohen, Dusty Blue, 2015, jeans, plaster, lime plaster, pencil, 10 x 13 x 6 inches.Brie Ruais, Unzipped Line and Circle (Raw Color), 400lbs, 2015, glazed ceramic, jeans, hardware, in three parts, 113 x 87 x 4 inches, 49 x 43 x 3 inches, 75 x 16 x 5 inches.In the Genes, 2014, 9 x 7 x 1.5 inches.Davis, Cherubini, Downstairs, 2007, pine, plywood, terra-cotta, glaze, tape, denim, 14 x 14 x 17 inches.“Blue Jean Baby” installation view, at September Gallery.Kim Gordon, Denim Mini, from the Boyfriend Experience series, 2013, archival pigment print (Edition of 50 + curated prints by 10 artists), framed: 30 x 20 inches.Sara Greenberger Rafferty
NOTE: September Gallery is also hosting Basilica SoundScape this weekend, where sculptor Cal Lane will exhibit alongside sex-psyche Illustrator Heather Benjamin and set designer Lisa Laratta.
Jack Walls. installation view of “Abstraction” group show at Carrie Haddid Gallery.Jack Walls, Mozambique, 2015, acrylic on canvas, 40 X 40 inches.Robert Morgan, Lissajous 1, 2015, acrylic and metalic paint on canvas, 16 x 20 inches.Robert C. Morgan, Lissajous 17, 2015, acrylic and metalic paint on canvas, 20 x 16 inches.
Thank you for the introduction to some interesting work(that I didn’t know already). Particularly responded to Christian Maychack’s work. Intriguing.
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Contributed by Heather Drayzen / “Superseed,” Hannah Antalek’s debut NYC solo exhibition at 5-50 gallery...
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Latest post, link in profile / Louis Fratino’s happy equilibrium / Contributed by Margaret McCann / Louis Fratino’s paintings in “In bed and abroad” at Sikkema Jenkins depict varied social situations, from intimate scenes to foreign climes. Snapshots of memories, many from Italy, read like a travel diary. In Duomo, light seems to dissolve a church façade into a gossamer veil, like Monet’s series of Rouen. Milan’s iconic gothic cathedral is strikingly illuminated, as are most monuments in Italy at night. Silhouetted throngs of young people in front of it have gathered after their evening stroll to aid digestion, take in the sumptuous surroundings, and see what’s happening in the local piazza. This saunter or “passegiata” is also “a walk in the park,” and the painting’s mellifluous drama demonstrates Fratino’s impressive facility, as it captures the Italian relish of visual and other small pleasures, which Americans often mistake for sunny dispositions (see Fellini’s La Dolce Vita). Link in profile
Latest post, link in profile / David Diao: Impeccable touch / Contributed by Adam Simon / Sometime in the early 1980s, a mural appeared on West Broadway between Spring and Broome streets in New York City, declaring in multi-colored capital letters, “I Am The Best Artist” signed, René. This, and other versions of the mural, were generally considered an embarrassment in the local artist community. I thought the mural, by René Moncada, was an interestingly unsubtle parody of artists’ competition and quest for uniqueness. I thought of this mural while viewing David Diao’s solo exhibition, On Barnett Newman, 1991-2023, on view at Greene Naftali. The exhibition comprises twelve paintings dedicated to the work of another painter, including works that look like an archivist’s inventory. Link in profile
Details from Brice Marden’s last paintings, on view @gagosian UES. Pencil grid, underpainting, brush hairs, drool, shaky hand. Poignant end to a painting story. #bricemarden #underpaintings #workinprogress
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Latest post, link in profile / NYC Selected Gallery Guide: Dec 2023 / Hey galleries and artists! If you have enjoyed being included in our NYC Selected Gallery Guide and find it a helpful way to promote your exhibitions, please consider making a tax deductible contribution to Two Coats of Paint. Kick a few bucks into our annual year-end fund drive to support the project in 2024. If you have already contributed, thank you — you’re helping to keep the conversation going. A link to make a contribution is in the profile.
Latest post, link in profile / Note that the Two Coats of Paint Selected Gallery Guide now includes listings for galleries in Connecticut, Massachusetts, and New Jersey. Welcome to the Two Coats Selected Gallery Guide! Link in profile
Latest post, link in profile / What’s up out of town? At Jack Shainman The School in Kinderhook, take some time at the sprawling installation by Meleko Mokgosi, co-director of Graduate Studies in Painting/Printmaking at Yale. Employing a range of media dense with meaningful images and ideas, the show explores the theme of subjugation. Also in Kinderhook, stop by SEPTEMBER for “Of Waves,” a two-person abstraction exhibition featuring London-based Jane Bustin and Hudson Valley-based Anne Lindberg. The two painters investigate the things we can feel but can’t see or touch.
Carrie Haddid has an elegant group landscape show called “Vanishing Point.” Also in a landscape mode but perhaps less somber is Mary Breneman’s bold landscapes at D’Arcy Simpson, which recall Marsden Hartley’s paintings of Maine. On view at Pamela Salisbury are Kozloff’s maps and a group show of work inspired by books as well as Robin Hill’s rustic-industrial sculptures.
At LABspace, Julie and Ellen have put together another fine “Holiday” sampler exhibition featuring hundreds of small works by notable artists from the Hudson Valley, Brooklyn, and beyond. Front Room Gallery and Buster Levi too offer group shows of work that would be perfect for heirloom gift-giving.
In Chatham, at Joyce Goldstein, don’t miss “Horizon Line.” Curated by Susan Jennings and David Humphrey, this will be the last show at the gallery unless someone steps up to take over the lease.
Note that the Guide now includes selected listings for galleries in Connecticut, Massachusetts, and New Jersey. Welcome to the Two Coats Selected Gallery Guide!
Latest post, link in profile / MUSEUM EXHIBITIONS Emilio Vedova: Venice’s Abstract Expressionist / Contributed by David Carrier / Emilio Vedova (1919–2006), who lived and worked in Venice, was once aptly dubbed the Jackson Pollock of the barricades. Employing that American painter’s gestural technique, Vedova made political art. “Rivoluzione Vedova” – “Revolution Vedova” – is an appreciative retrospective of his work on the third floor of the spacious M9 Museum of the 20th Century in Mestre, a very short train ride from Venice. It includes five of his small, quasi-figurative paintings from 1945; a number of his larger abstractions from the 1960s; Absurdes Berliner Tagebuch ’64, a series of paintings on wood made in Berlin; photomontages from 1968; tondos from 1985; and an elaborate installation of his heavily pigmented panels. Link in profile
Latest post, link in profile / What’s up in the Hudson Valley? At Jack Shainman The School in Kinderhook, take some time at the sprawling installation by Meleko Mokgosi, co-director of Graduate Studies in Painting/Printmaking at Yale. Employing a range of media dense with meaningful images and ideas, the show explores the theme of subjugation. Also in Kinderhook, stop by SEPTEMBER for “Of Waves,” a two-person abstraction exhibition featuring London-based Jane Bustin and Hudson Valley-based Anne Lindberg. The two painters investigate the things we can feel but can’t see or touch. Carrie Haddid has an elegant group landscape show called “Vanishing Point.” Also in a landscape mode but perhaps less somber is Mary Breneman’s bold landscapes at D’Arcy Simpson, which recall Marsden Hartley’s paintings of Maine. On view at Pamela Salisbury are Kozloff’s maps and a group show of work inspired by books as well as Robin Hill’s rustic-industrial sculptures.
At LABspace, Julie and Ellen have put together another fine “Holiday” sampler exhibition featuring hundreds of small works by notable artists from the Hudson Valley, Brooklyn, and beyond. Front Room Gallery and Buster Levi too offer group shows of work that would be perfect for heirloom gift-giving.
In Chatham, at Joyce Goldstein, don’t miss “Horizon Line.” Curated by Susan Jennings and David Humphrey, this will be the last show at the gallery unless someone steps up to take over the lease.
Take a look at the post as there is more worth checking out. Use the Two Coats of Paint handy interactive map to the Hudson Valley art region to help find all the galleries on the list and others. Link in profile
Latest post, link in profile / Hannah Antalek’s crystal ball: Magical and disconcerting / Contributed by Heather Drayzen / “Superseed,” Hannah Antalek’s debut NYC solo exhibition at 5-50 gallery in Long Island City, draws on our species’ overall apathy about the environment. A surreal, dream-like sensibility informs a bio-luminescent vision of nature, cumulatively derived from dioramas she constructs from recyclable materials. She pulls us into a magical but also disconcerting world. Link in profile
Image: Hannah Antalek, Perpetual Aurora, 2023, oil on canvas, 32 x 24 inches
Latest post, link in profile / Nancy Davidson’s wandering carnival / Contributed by Fintan Boyle / A sense of serious satire has pervaded Nancy Davidson’s work for years, and it is on prominent display in her show “Braids Eggs and Legs: A Wandering,” installed in two large galleries at Catskill Art Space alongside Matt Nolen’s work. Davidson has long been a fan of morselized language and sundered bodies, which in theory would make her work fertile ground for the psychoanalytically inclined. Yet here she elides the sexual menace and violence that, say, Melanie Klein offers. Instead, she wanders, as her title announces. Link in profile
OPEN CALL! Apply today for NYC Crit Club`s Plum Lime Residency / Winter 2024 ❄️⏰ / Guest Juror: Paddy Johnson Founder of VVrkshop
The Plum Lime Residency will grant one artist a free 550 sq. ft. private studio space for 5 weeks (January 15 - February 17, 2024) this winter in Bushwick (Brooklyn)!
Latest post, link in profile / Interview: Holly Miller’s transatlantic sensibility / Contributed by Leslie Wayne / If you meet Holly Miller on the street, you will encounter a warm, exuberant, emotionally expressive, and funny person who immediately pulls you into her space. You would not expect her art to be highly controlled, minimal, and geometric. Yet she has built her career on paintings that are just that – slightly irregular geometric shapes, flatly painted and intersected by lines sewn with thread. But Miller is now at a crossroads and her work is suddenly exploding outward, making room for new materials, chance encounters, and unpredictable forms. Perhaps, as with many artists, COVID has had something to do with this shift. Life seems a little more precious these days, and taking new aesthetic chances is a small way of asserting courage in the face of the unknown. Link in profile
Thank you for the introduction to some interesting work(that I didn’t know already). Particularly responded to Christian Maychack’s work. Intriguing.