Award-winning blogazine, primarily about painting
Tuesday, May 30, 2023
Contributed by Sharon Butler / When Nathaniel Robinson takes the train from Brewster, New York, down to the city, he snaps pictures along the way. Hastily cropped and blurry in some areas, these images have become the basis for a series of sublime paintings on view at Devening Projects in Chicago.
Contributed by Cody Tumblin / “Vaudeville,” Laurel Farrin�s solo show at Devening Projects in Chicago, contains an assortment of painted objects that each hold a healthy measure of humor and delight in their making. Although the works are often simple in appearance and construction, they contain intentionally irresolute and sensitive, […]
Latest post, link in profile / Chakaia Booker’s lyrical muscle / Contributed by Jonathan Stevenson / Making deeper sense of some abstract art past its initial visual impact can require extended consideration. Not so much Chakaia Booker’s sculpture, now on view in her solo show “Public Opinion” at David Nolan Gallery. Composed predominantly of exactingly configured pieces of black rubber tires along with wood and metal, the work immediately grips you like a confident advocate, calm and insistent. Link in profile
@chakaiabooker @davidnolangallery #jonathanstevenson #twocoatsofpaint
Jim Condron has put together a lovable show of crazy sculptures he made using things sourced from other artists and writers. One piece includes a pair of pink crocs — Grace Hartigan’s last painting shoes — and I was reminded of a Rachel Harrison piece I saw this winter @glenstonemuseum . Kind of heartbreaking that Hartigan’s shoes don’t have more paint on them. Swipe for images
Jim Condron: Collected Things
Sculptures from the Collected Items of Artists, Writers and Thinkers
On view through June 17 @artcake_nyc (but closed for Memorial Day Weekend)
Image info:
Grace Hartigan’s Things, 2023
Crocs shoes, paint stick, pillow, steel
antique chair, steel
35 x 45 x35 inches
In the Glenstone collection:
Rachel Harrison, Sculpture with Boots, 2017
wood, polystyrene, chicken wire, cardboard, burlap, cement, acrylic, steel, and pigmented inkjet print
93 x 60 x 46 inches (236 x 152 x 116 cm)
© Rachel Harrison
Rachel Harrison, Sculpture with Boots (detail)
@jimcondron #gracehartigan #leekrasner @pollockkrasnerfoundation #rachelharrison #paintersshoes
(I gave Jim a few coffee pots from my favorite hometown thrift shop —the only store I’ve ever loved. Go see what he did with them ☕️)
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
