October 29, 2012

Weatherbeaten

Winslow Homer, On the Lee Shore, 1900. Created in his studio at Prouts Neck, Maine, where he lived and worked from 1882 until he died in 1910.

If any artist understood how to use weather as metaphor, Winslow Homer did. And so, on the day that Frankenstorm is bearing down on the East Coast, writing about Homer's waterfront studio, which has recently been renovated by the Portland Museum of Art and has been open to the public since September, seems appropriate. According to Clarke Canfield's AP news report, Homer left New York and moved to his family's estate in Maine where he lived in a remodeled carriage house that had an unobstracted view of the ocean. Already an accomplished artist,
it was here where he created his well-known works focusing on man versus nature, showing the angry tumultuous ocean crashing against shore and weather-beaten fishermen. After Homer died, the studio passed down among family members until it was inherited by Homer's great-grandnephew, Charles 'Chip' Homer Willauer, who for many years lived in the studio in the summer months.
Willauer, 74, was concerned about the future of the building, worried that it would deteriorate over time and be lost to future generations. In 2006, he sold the structure to the Portland Museum of Art for $1.8 million. The museum spent $2.8 million renovating the structure, including stabilizing the foundation, replacing the balcony, restoring a chimney, replacing windows and returning the exterior to its original green with brown trim. In all, the museum has raised $10.6 million in a fundraising campaign to pay for the purchase and renovation, an endowment, educational programs and exhibitions.
Willauer said he's thrilled with the finished work and happy he doesn't have to worry about the future of a building that was instrumental in Homer's life.
But he's not so sure his great-great-uncle would have understood all the attention "I think that Winslow, who liked his privacy, would have been surprised by all the interest," Willauer said outside the studio. 
Winslow Homer, Eight Bells, 1886, oil on canvas, 25 3/16 x 30 3/16 inches. Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts, Gift of anonymous donor.


Here's my favorite part of Canfield's story, which I think is absolutely true. Museum Director Mark Bessire suggests that Maine changed the way Homer painted. "You have artist studios where artists worked, but then you have artist studios where the place actually changed the artist."

Left: Images of Homer's renovated studio on Prout's Neck. All images courtesy of the Portland Museum of Art.
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While making a pilgrimage to the studio this fall, also check out "Weatherbeaten: Winslow Homer in Maine," an exhibition of Homer's work on view at the Portland Museum through December 30, 2012. The show features paintings, watercolors, and etchings borrowed from private collections and museums throughout the country-- including the Art Institute of Chicago, the Pennsylvania Academy of the Fine Arts , the Smithsonian American Art Museum, and the Sterling and Francine Clark Art Institute.












Other artists' studios I love that are open to the public:
Florence Griswold Museum (Old Lyme, Connecticut)
Weir Farm (Wilton, Connecticut)
Gustave Moreau (Paris)
Eugene Delacrox (Paris)
Jackson Pollock (Springs, New York)

Readers: If you know of others, please leave links in the Comments section. And stay safe today. Beware flying debris.
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October 27, 2012

DISCUSSION: Owning motherhood


Last week I moderated a discussion at the School of Visual Arts called "Taking Custody: The Double Life of the Artist Mother," which was organized by Cathleen Cueto, an artist who is expecting her first child this year, and included panelists Suzanne McClelland, Katherine Bernhardt, Rachel Papo, Amy Stein, Renée Cox, and Danica Phelps. I thought readers might like to join the conversation, so here are the introduction and questions we prepared for the discussion. I hope readers will share their experiences and insights in the Comments section. And, yes, anonymous comments are OK.
It occurred to me today that raising a surly teenager sometimes seems like working on a bad painting in the studio: you have faith that if you just keep working on it, you can turn it around, and the struggle will have been worth it. With kids, unlike painting, you don’t have the option of starting again...!
Back in the early 1990s Mira Schor and Susan Bee sent a questionnaire to artist mothers asking these questions:
How has being a mother affected people’s response or reaction to your artwork? How has it affected your career? Have you encountered discrimination from other artists, dealers, galleries, art schools, critics because of motherhood or pregnancy? Did you postpone starting your career or stop working when your children were young? How would you describe the differences in treatment of male artists with children or of women artists without children? Did having children enhance your creativity or affect the direction of the work?

I want to thank Mira, Susan, and all the artists who responded to their questions twenty years ago. I suspect that most of the people in this room have read those responses in M/E/A/N/I/N/G, a collection of essays published in 2000.

Today, artists would undoubtedly have some similar responses to their questions, but more notable is that we are asking different questions. Young artists are more concerned with whether raising kids will interfere with their art practice than whether it will lead to discrimination. We no longer fear that kids will ruin our careers—we worry that our careers will ruin our kids.
 --Sharon Butler
Questions:
1. After reading Night Studio, Musa Mayer’s moving memoir of growing up with Philip Guston, I was convinced that artists like me, inherently self-centered and often distracted, should not have kids. Ultimately I changed my mind because, as I got older, raising a child seemed like a great adventure. What made you decide that you could do both – have children and a creative career? What age were you when you had kids? Should one have a child while still “emerging” or after one’s career has been better established?

2. Please tell us a little bit about how you managed the day-to-day when your kids were younger. When did you find time to go to the studio? How did your art practice change? Once the kids become teenagers, is life easier or harder? Do you ever feel like you are not succeeding?

3. Divorce can lead to ongoing custody disputes, parental alienation, and other traumatic parenting experiences that are sometimes exacerbated by our non-traditional life choices. Are any of you divorced? Would you say your outlook and choices conflict with societal norms, traditional values, and parenting?

4. Artists value honesty, a trait that can lead to trouble in terms of family relationships, with our parents, siblings and even our own children. Has having children made navigating family relationships more difficult or made it easier? Do you ever feel as though your children, as they get older, don’t understand you?

5. As artists, especially in the early years, we often make choices that privilege studio time over more traditional family-centric financial considerations. How do you pay the bills? How have your financial choices changed since you’ve had children? How have those choices impacted your art practice?

6. Non-artists who have more traditional, high-powered professional careers, such as the women Anne-Marie Slaughter included in her article, are often envious because artists seem to have the freedom to set our own schedules. At the same time, since we are not as well compensated for our work (if at all), and sometimes we work at home, and are judged harshly for putting our art practices first, particularly by our children. Let me ask: have some of you encountered hostility as a result of making what others consider selfish choices? How have you managed that hostility?

7. Are work/family dilemmas primarily an issue for women? Do you perceive a vast difference between men and women in the art world? Earning power? Exposure? Have you ever felt discriminated against for having children in terms of not being taken as seriously as women/male artists who are single?

8. In “Neo-Maternalism,” a 2009 article in the Brooklyn Rail, I suggested that, with the rise of relational aesthetics, child-rearing itself could become the substance of artists’ practice, and, in fact, last year, Marni Kotek produced a performance piece in which she gave birth to her baby at Microscope Gallery in Brooklyn. What are your thoughts, as a parent, about using kids in your art practice? Was Larry Rivers out of line to videotape his daughters naked, or is everything fair game for an artist? If you have used your kids in your practice, perhaps you could share your experience.

Related: Alyssa Pelish reported on the discussion for On The Issues Magazine: Taking Custody: Owning the Role of Artist AND Mother

Image at top: Sketch of the panel participants contributed by an unknown member of the audience.

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UPDATE (November 16, 2012) SVA recently posted a video of the discussion in it's entirety. Check it out. Running time 1:33:12




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October 26, 2012

Peter Scott's two-part disappearance and James Siena's Sometimes

Part two of Peter Scott's exhibit "Pardon Our Disappearance" is on view at  Sometimes (works of art), painter James Siena's small gallery on a sixth floor space in Chinatown, through the end of the month. Questioning the idealized lifestyle displayed in luxury construction site banner and scaffolding ads, the exhibition examines how the environment has been transformed to suit the leisure economy. Work included in the exhibition documents the ephemeral nature of the development sites that have reshaped the city. "What may in the long run appear to be a fleeting moment in the perpetual reshaping of the city now represents the culmination of the effect of the boom years on its many neighborhoods," Scott writes in his project statement. "As a photographic record of this process, the photographs included in Pardon Our Disappearance, Part Two are part documentary and part conceptually based, an informal archive rooted in perceptual ideas."

Peter Scott, installation view of Distant Condo, Reflective Moment, Walk in Water, with Archival Material (Lego Farnsworth House). All images courtesy of Serra Sabuncuoglu.
After checking out Scott's work, I chatted briefly with Siena about the show, the space, and the artists Siena champions.

Samuel Jablon: When and why did you decide to open Sometimes (works of art)?

James Siena: It was in the fall of 2009, as the art world was at its nadir; galleries were closing, artists weren't selling, pessimism abounded. I decided the time was ripe for and artist-driven response to all this, and to make something happen outside the gallery system. Shows would be longer; there would be music or performances at the openings; events during the run of the show would be encouraged (readings, music, discussion), and the artist, if possible, would sit the gallery on the one day per week it would be open. That way, viewers would meet the person who made the work, thus encouraging a new kind of interaction.

SJ: I see the space as a place for conversations to emerge that reach beyond age, reputation, and career. It is a nicely tucked-away spot that seems to create a space that is not market driven. What are you looking for in an artist or their work when you invite them to exhibit?

JS: I have shown only artists who have been working in a mature phase of their work for at least two decades (most, if not all of the artists have been over fifty years of age). They are all, in my opinion, deserving of more attention than they have received. Some are old friends; some are people I've become aware of through friends and colleagues. My intention this season (my second, as in 2011 I was out of the country for four months) is to show some of the artists from the 2010 season a second time, reinforcing my conviction that their work merits continued attention and consideration.

SJ: Could you talk about the current show of Peter Scott's work, Walk on Water?

JS: Peter Scott is not only a highly accomplished visual artist who works at the boundary of conceptual art (but who makes highly charged object oriented works); he is also the director of carriage trade, a nonprofit gallery in Tribeca. I thought it would be a good thing to open the 2012 season with a show by someone who easily wears two hats (at least, as he is also an independent curator and writer), not only to underscore the complexities inherent in our practice as artists and members of a community, but to draw out links between our spaces. Serendipitously, it so happened that Peter also has a show up at Mieko Meguro's space, Gallery 3A, just a couple of blocks to the west, also on Canal Street, going towards carriage trade. Peter Scott's work speaks to the fragility of, and the contradictions between what appears to be real and what is the actual nature of contemporary society.

SJ: This type of interaction between artist-art-audience seems needed now, it steps away from the market, and actually looks at what this is all about in the first place. Could you talk about any up coming projects and events at the space?

JS: Upcoming: Dan Schmidt, new gouaches, opening November 7th. He's an artist whose work is deeply personal and almost hermetic, yet which draws on everyday forms and objects translated into shapes. He uses packaging and other anonymously made forms to reveal a visual reality that exists before our eyes, but that remains unnoticed. I'll also show Fred Valentine (who happens to own Valentine Gallery in Ridgewood), a painter of wide range, from domestic settings to charged portraits of snowmen and bears, and also Aura Rosenberg will show this season, revisiting her miniature porn paintings, as will Tim Maul, a conceptual photographer deeply concerned with a sense of place in the image. All of these artists had shows in the 2010 season, and I'm delighted they've agreed to show at Sometimes again.
Peter Scott, Walk in Water.
Peter Scott, Reflective Moment.
Peter Scott, Archival Material (Lego Farnsworth House).
Peter Scott, Distant Condo.
Peter Scott, installation view, Distant Condo, Reflective Moment, Walk in Water. 
"Peter Scott: Pardon Our Disappearance Part Two," Sometimes (works of art), Chinatown, New York, N.Y. 10002. Tthrough October 30th, 2012.

Related posts:
Slick digital in Wendy White's new work
Show of the week: James Siena At Pace Wildenstein
Marjorie Welish and James Siena: Doing and undoing


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October 23, 2012

How to become an art collector


We all love Barry Hoggard and James Wagner, two friendly, culture-loving guys who not only publish ArtCat, The Opinionated Art Guide to New York,  but have also amassed a large, very personal and diverse art collection over more than twenty years. Through Sunday, October 28, a portion of their 900-piece collection is on view at  English Kills in Bushwick. Gallerist Chris Harding selected work for the thoughtfully-hung exhibition that includes pieces by Nancy Spero, Keith Haring, David Reed, Wolfgang Tillmans, Clement Valla, Eric Doeringer, Sharon Louden, Felix Droese, Jules de Balincourt, Marco Breuer, Tom Fuhs, Bryan Zimmerman, Yasser Aggour, Michael J. Dvorkin, Deborah Mesa-Pelly, Jason Simon, Louise Fishman, Clarina Bezzola, Michael Meads, Mike Asente, Tracey Baran, Teresa Moro, Jaishri Abichandani, Rupert Deese, Alejandro Diaz, David Humphrey, Matt Dojny, Dan Golden, Gregory Botts, Rochelle Feinstein, Robert Wilson, Hiroshi Sunairi, Charles Goldman, Michael Williams, Wijnanda Deroo, Amy Feldman, Janine Gordon, Joe Ovelman, Kim Schifino, Joyce Pensato, Bruce High Quality Foundation, Margaret Lee, Ben Godward, and Kiki Smith.

Yowsa--what a roster! I stopped by last week and was pleased to see that the checklist includes the provenance of each piece. They all have stories to tell-- some were acquired from galleries, others at fundraising art auctions or art fairs, and many from the artists themselves. But don't try to buy anything: Hoggard and Wagner have never sold a single work from the collection and they don't intend to now. According to the press materials, no sale of any kind is involved in the English Kills exhibition.

So how do you become an art collector? Not by spending a lot of money, but by buying affordable pieces that you love over a long period of time. Easy.

And don't miss this: Artist and gallerist Austin Thomas, famous for insisting that real artists support other artists by buying art, talks about collecting with Wagner, Hoggard and Harding on The James Kalm Report.




Hoggard Wagner Art Collection at English Kills, Bushwick, Brooklyn, NY. Through Sunday, October 28, 2012. Note: Closing Party, Sunday, October 28, 5-7 PM

Image at top:  Michael Williams, At Mr. McCook's, 2006, oil on canvas, 24 x 36 inches. Provenance: Canada Gallery at The Armory Show, Acquisition Year: 2007

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Katie Pretti: Ghost in transit



Abstract painter Katie Pretti's latest exhibition at Neubacher Shor Contemporary is a beautifully expressive meditation on the feeling of being in transit. Her large canvases capture the confusion and displacement Pretti feels as she travels endlessly from place to place, with no opportunity to feel completely at home. The organic line and soft, swirling brushwork project a ghostly, roaming presence, leading the eye, like Pretti, to travel around and around each piece, never permitted to rest or unwind.

Above: Katie Pretti, 4th Pathway 8, 2012, acrylic, oil stick, oil pastel, graphite on canvas, 48 in x 48 inches. At top: Katie Pretti, 4th Pathway 5, 2012, oil on canvas. Images courtesy of Neubacher Shor

In the press release, Pretti says she feels like a ghost. "Being in transit can have that effect of a person," Pretti writes. "A Tibetan might call it a bardo, a place between death and birth. Sometimes people don’t even know they’re dead and they keep walking around, enacting their daily routines, but they have no body. They no longer have any real connection to what they still believe is their life."
--Arianna Perricone


Installation view of "Swoon." Image courtesy of Neubacher Shor


"Katie Pretti: Swoon," Neubacher Shor Contemporary, Toronto, ON. Through November 24, 2012.

Related posts:
Report from Toronto
Last chance: Sadko Hadzihasanovic at Paul Petro (2009)
Questioning Canadian painting's carte blanche (2008)



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October 22, 2012

Flayed, torn, and punctured at MOCA

After World War II, abstract artists, in the throes of an existential crisis unleashed by the atom bomb,  began assaulting the picture plane, puncturing, stabbing, tearing, gouging, burning, and shredding their canvases. At MOCA,"Destroy the Picture: Painting the Void, 1949-1962," assembles a group of early experimental pieces that explore the materiality of gesture, performance, time-based, and assemblage strategies. "Some might regard it as merely an emblem of the capitalist cycles of boom and bust that Marx identified," Christopher Knight writes in the LA Times. "But Europe was a pile of rubble, Japan a shocked mound of ash. America wasn't physically touched, except in the isolated Pacific, yet the psychic scarring went deep." Considering all the painters who are moving into three dimensions today, "Destroy the Picture: Painting the Void, 1949-1962," curator Paul Schimmel's last project for MOCA, seems incredibly well timed.

Manolo Millares, Homúnculo, 1960, mixed media on canvas (sackcloth), 64 x 51 9/16 in. (162.5 x 131 cm). Collection of Contemporary Art, Fundacion "la Caixa."

 
Saburo Murakami, Peeling picture, 1957, 20 7/8 x 17 15/16 in. (53 x 45.5 cm). Collection Axel Vervoordt, Belgium


Salvatore Scarpitta, Racer's Pillow, 1963, canvas, wood, canvas straps with metal hardware, cloth, resin, and paint, 60 5/8 x 48 1/2 x 3 3/4 inches. Whitney Museum of American Art, New York; Bequest of B.H. Friedman 2011.53

Otto Muehl, Untitled, 1963, sand, plaster, stockings, and emulsion on sackcloth
30 3/8 x 28 1/2 x 4 inches. Collection Walker Art Center, Minneapolis T.B. Walker Acquisition Fund, 1999.

Shozo Shimamoto, Work, 1951, paint on newspaper, 16 x 12 1/2 inches. Collection Axel Vervoordt, Belgium.

Yves Klein, Untitled Fire Painting (F 27 I), 1961, burnt cardboard, 98 7/16 x 51 3/16 inches. Yves Klein Archives.

Lucio Fontana, Concetto spaziale, Attese, 1958, aniline on canvas, 38 9/16 x 53 1/8 inches.
Fondazione Lucio Fontana, Milan, Italy.

Lee Bontecou, Untitled, 1962, canvas, welded steel and wire construction
57 x 54 1/2 x 22 inches. Collection of Manfred Simchowitz. Photography by Brian Forrest ©Lee Bontecou

Alberto Burri, Combustione Plastica, 1958, plastic, acrylic, burns on canvas, 38 9/16 x 33 1/16 inches. Fondazione Palazzo Albizzini Collezione Burri, Citta di Castello

BONUS: In this 33-minute video from MOCAtv, Schimmel introduces the exhibition. Archival footage of Yves Klein and Salvatore Scarpitta, and the "crusty, biomorphic, cellular," works of Japanese, European, and American artists influenced by the destruction wrought by WWII are also included.




"Destroy the Picture: Painting the Void, 1949-1962, " Organized by MOCA former curator Paul Schimmel in association with the Museum of Contemporary Art Chicago. MOCA, Los Angeles, CA. Through January 14, 2012. A fully illustrated, 250-page catalogue, with color reproductions of all works, co-published with Rizzoli, will accompany the exhibition.

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Extending and reducing: Matthew Langley at Blank Space

"Atlas," the first NYC solo show of Matthew Langley's handsome abstractions is on display at Blank Space in Chelsea through November 10. Since my undergrad days I've had a weakness for painterly, grid-based abstraction by artists like Harvey Quaytman and Sean Scully, so naturally I'm a Langley fan. A graduate of the Corcoran School of Art, Langley moved to NYC from DC two years ago, and continues to discover meaning in surface, color, and touch. "The artworks come from a series of divergent strategies," Langley writes in the generous PDF catalog. "One of building and extending--the other of reducing and minimizing. These disparate approaches are not a way to impose meanings on the work, but can be viewed as a metaphoric crossroads."

This kind of work doesn't translate well in the JPEG format, so if you're in Chelsea, make sure to stop by and see the show.


Matthew Langley, The Day the Rain Came Down, 2012, oil on canvas, 36 x 36 inches. 

 Matthew Langley, Reasons to be cheerful, 2012, oil on canvas, 48 x 48 inches. 

"Matthew Langley: Atlas," Blank Space, Chelsea, New York, NY. Through November 10. 2012.


Related posts:
Matthew Langley's dangerous proposition
Introducing 246 Editions



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October 21, 2012

A well-lit billboard is not public art: Q&A with Adam Niklewicz

Connecticut's Department of Economic and Community Development is the mastermind behind City Canvas, a one-time, million-dollar initiative to bring mural-based public art created by Connecticut artists into downtown spaces throughout the state. Participating cities include Bridgeport, Hartford, New Britain, New London, Stamford, Torrington, and Waterbury. Adam Niklewicz, whose proposal was selected for a site in Hartford, recently spoke with Two Coats contributor, Joe Bun Keo.



1. JOE BUN KEO: Adam, I've met you on a few occasions, most recently at David Borawski's pop-up art space ATOM space in Downtown Hartford, where we were in a show, NOW ON together.

With the Capital City Canvas Project and more specifically The Charter Oak water mural (pictured above), you are working with a 2-D surface, a brick facade of a building. You are more known for your sculptures /three dimensional work.  I've always had the belief that whether you studied painting or sculpture, photography or printmaking; an artist has the liberty to use whatever medium he/she chooses to express himself. Has there been any criticism that you have strayed from your "usual oeuvre?"

ADAM NIKLEWICZ: Criticism?  No, not really.  I love the measure of freedom the kind of art both of us engage in provides.  From piece to piece your art can look dramatically different and what ties it all together is the conceptual component.  The viewers understand and appreciate it.


2. JBK: Much of your work pulls from your experiences with displacement and transience. You're a Polish-born American. There's a tug-o-war of culture and identity. I have a similar situation where I was born in America, but my ethnicity is Cambodian, but I speak Thai and English. I'm being pulled three ways in regards to cultural identity. Are you looking to find resolution by creating works that focus on this specific issue? Is your work more about you dealing with the situation and not necessarily trying to find an answer? How do you describe your handling of your Polish-American heritage?

AN: On one hand, there's the visual vocabulary of my Polish childhood, on the other - the American pop-cultural and commercial iconography.  The two clash and blend together (there's a bit of smoke) and all this occasionally produces some creative leaven.  I often base my art on quirky, ethnic, folkish facts, but I do hope I'm able to distill these facts into works with universal appeal.


3. JBK: The Charter Oak water mural was created using a paint where the image is activated by water. The Charter Oak is a historic symbol of Connecticut's revolutionary spirit. Hartford, being its capital, is looking for a revival. Like invisible ink that is activated by other means, would you say this mural acts as a metaphor for the capital city and the state in the sense that the two have so much dormant/untapped potential, that it only takes the simple essential elements to accentuate it and let it be known?

AN: I welcome and like your interpretation!  I trust good art is capacious and provides room for many interpretations (even contradictory ones).


4JBK: Paint is pigment and a vehicle. Public art is visuals and an open public audience. You need the other to complete the intention. You said "public art should embrace the existing environment and work to enrich reality." You made a public brick facade in Downtown Hartford your canvas, but I can't help but notice that the wall isn't as public as a well-lit billboard on the highway or a large sculpture on a park green. You'd have to be a little more observant than usual if walking by the alleyway across from bin228 on Pearl Street to notice it. The accompanying "Walking Around the Tree" projection can only be seen at night on the AT&T building. Can this still be considered a cohesive public art project, when the view has some limitations? Does it fall into situational privacy? It seems to walk the line of what really distinguishes public from private.

AN: We worked with what was available to us.  In fact, very few walls could host the idea.  I trust that the proximity of the AT&T façade (where the projection takes place) to the brick wall (which sports the water mural) makes for a coherent whole.  And don't start me on 'a well-lit billboard'; a public art project is not an advertising campaign.  Advertising campaigns create slick, bogus reality, and public art project embraces the existing, imperfect one.


5. JBK: The blog's name is "Two Coats of Paint." The first coat is usually a primer and the second seals the deal. With your body of work, this current project, and your general overall approach to art-making what importance does the concept of layers, levels, trials and overlapping play? The intention of creating a refined piece is different for everyone, but is there an inherent goal of perfection the first time around or should every artist accept that failures accumulate to eventually resemble something close to perfection?

AN: An artist must be accepting of his/her inherent imperfection!  Only then, can the artist be open to chance, which is a condition for something fresh, surprising, real to come his/her way.


6. JBK: What’s next for Adam Niklewicz? What are your current and upcoming projects? You’re teaching at Central Connecticut State University. What are you teaching and describe how that is contributing to your practice. What creative endeavors should we all look forward to from you? Fill us in!

AN: It's my dirty secret that I learn from my students.  At the moment, I'm showing 12 prints and 2 sculptures at a solo show in NYC (at Polish Institute of Arts and Sciences, 208 E. 30th St.).  In February next year, I should be in a group show at Hudson Valley Center for Contemporary Art in Peekskill, NY.  What I need most now though, is to regain my equilibrium (the project in Hartford lasted several months and was all-consuming).  It will allow me to plunge into developing new body of work. 

(All images courtesy of the artist.)

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October 16, 2012

Alex Paik: A solo show in Philly and a new gallery in Bushwick

Alex Paik, one of the founders of the Philadelphia art space Tiger Strikes Asteroid, is having a solo show this month, his first at Gallery Joe. Using cut and folded paper to make small-scale constructions painted with gouache and colored pencil. Paik's work, although seemingly whimsical, is informed by the complex structures found in music, particularly fugues and the polyphonic improvisions of early jazz. In a note about the show he says he's attracted to work that is "simultaneously super abstract/cerebral and intimate, even humble…”

Don't these pieces look like 3-D versions of Thomas Nozkowski's paintings?

 Alex Paik at Gallery Joe. Installation view.

Alex Paik, Prelude and Fugue (Hanging Polygons), 2012, gouache, colored pencil, paper, 18 x 11 x 3 inches.

Paik also told me that in November he is opening a new branch of Tiger Strikes Asteroid in Bushwick. Located at 44 Stewart Avenue and called TSA, the new space will present a diverse program of artists and curatorial projects that focuses on "emerging artists from New York and beyond." The inaugural exhibition, "Finders Keepers," opens on November 9. Curated by An Hoang for Frederieke Taylor Gallery,  the show includes works by Joseph Hart, Todd Knopke, Blaze Lamper, Andy Ness, and Justin Valdes.

"Alex Paik: Recapitulation Bop," Vault Gallery at Gallery Joe, Philadelphia, PA. Through November 11, 2012.


Related posts:
Alex Paik: Places to go (2009)

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The Triton Collection suffers an art heist in Rotterdam


Dutch police say seven paintings stolen from the Kunsthal Museum in Rotterdam include one by Pablo Picasso, one by Henri Matisse, and two by Claude Monet, Lucian Freud, Paul Gauguin, and Meyer de Haan. The heist, one of the largest in years in the Netherlands, occurred while the private Triton Foundation collection was being exhibited publicly as a group for the first time. The collection was on display as part of celebrations surrounding the Kunsthal's 20th anniversary celebrations. (via AP/Seattle P-I)

According to the museum's website the exhibition, "Avant-Gardes" includes the bulk of the Triton Collection, assembled by multimillionaire Willem Cordia, an investor and businessman who died last year, and his wife, Marijke Cordia-Van der Laan. The exhibition features works by the following artists:

Jean Arp (1886, Straatsburg – 1966, Bazel)
Karel Appel (1921, Amsterdam – 2006, Zürich)
Frank Auerbach (1931, Berlijn, woont en werkt in Londen)
Francis Bacon (1909, Dublin – 1992, Madrid)
Giacomo Balla (1871, Turijn – 1958, Rome)
Balthus, geboren als Balthasar Klossowski de Rola (1908, Parijs – 2001, Rossinière (Zwitserland))
Aubrey Beardsley (1872, Brighton – 1898, Menton (Frankrijk))
Max Beckmann (1884, Leipzig – 1950, New York)
Hans Bellmer (1902, Katowice (Polen) – 1975, Parijs)
Emile Bernard (1868, Rijsel – 1941, Parijs)
Max Bill (1908, Winterthur – 1994, Berlijn)
Pierre Bonnard (1867, Fontenay-aux-Roses – 1947, Le Cannet)
Fernando Botero (1932, Medellin, woont en werkt in Parijs, Montecarlo en New York)
Louise Bourgeois (1911, Parijs – 2010, New York)
Georges Braque (1882, Argenteuil – 1963, Parijs)
Alexander Calder (1898, Lawnton (Pennsylvania) – 1976, New York)
Heinrich Campendonck (1889, Krefeld – 1957, Amsterdam) Paul Cézanne (1839, Aix-en-Provence – 1906, Aix-en-Provence)
Marc Chagall (1887, Vitebsk – 1985, Saint-Paul-de-Vence)
Salvador Dali (1904, Figueres (Catalonië) – 1989, Figueres (Catalonië))
Christo (1935, Gabrovo (Bulgarije), woont en werkt in New York)
Chuck Close (1940, Monroe (Washington), woont en werkt in New York)
Le Corbusier, geboren als Charles-Édouard Jeanneret-Gris (1887, La Chaux-de-Fonds – 1965, Roquebrune-Cap-Martin)
Edgar Degas (1834, Parijs – 1917, Parijs)
Robert Delaunay (1885, Parijs – 1941, Montpellier)
Maurice Denis (1807, Granville – 1943, Parijs)
Andre Derain (1880, Chatou – 1954, Garches)
Otto Dix (1891, Gera (Duitsland) – 1969, Singen (Duitsland))
Theo van Doesburg (1883, Utrecht – 1931, Davos)
Cesar Domela (1900, Amsterdam – 1992, Parijs)
Raoul Dufy (1877, Le Havre – 1953, Forcalquier)
Jean Dubuffet (1901, Le Havre – 1985, Parijs)
Marcel Duchamp (1887, Blainville-Crevon (bij Rouen) – 1968, Neuilly-sur-Seine (Parijs))
Marlene Dumas (1953, Kaapstad – woont en werkt in Amsterdam)
Max Ernst (1891, Brühl – 1976, Parijs)
Alexandra Exter, geboren als Aleksandra Aleksandrovna Grigorovich (1882, Białystock (toen
Lucio Fontana (1899, Rosario di Santa Fé (Argentinië) – 1968, Varese)
Sam Francis (1923, San Mateo (Californië) – 1994, Santa Monica (Californië))
Lucian Freud (1922, Berlijn – 2011, Londen)
Naum Gabo (1890, Brjansk (Rusland) – 1977, Waterbury (Connecticut))
Paul Gaugain (1848, Parijs – 1903, Atuona (Frans Polonesië))
Alberto Giacometti (1901, Stampa (Zwitserland) – 1966 Chur (Zwitserland))
Vincent van Gogh (1853, Zundert – 1890, Auvers-sur-Oise)
Julio González (1876, Barcelona – 1942, Arcueil (bij Parijs))
Juan Gris (1887, Madrid – 1927, Boulogne-Billancourt (Frankrijk))
Jasper Johns (1930, Augusta (Georgia), woont en werkt in Sharon (Connecticut))
Wassily Kandinsky (1866, Moskou – 1944, Neuilly-sur-Seine)
Alex Katz (1927, Brooklyn – woont en werkt in New York)
Elsworth Kelly (1923, Newburgh (New York), woont en werkt in Spencertown (New York))
Fernand Khnopff (1858, Grembergen (België) – 1921, Brussel)
Anselm Kiefer (1945, Donaueschingen, woont en werkt in Croissy-Beaubourg (bij Parijs))
Paul Klee (1879, Münchenbuchsee – 1940, Muralto)
Yves Klein (1928, Nice – 1962, Parijs)
Martin Kline (1961, Norwalk (Ohio) – woont en werkt in Rhinebeck (New York) en New York)
Ivan Kliun (1873, Bolshie Gorki (bij Moskou) – 1943, Moskou) )
Gustav Klucis (1895, Rŭjiena – 1938, Moskou)
Willem de Kooning (1904, Rotterdam – 1997, Springs (New York))
Leon Kossoff (1926, Londen – woont en werkt in Londen)
Juul Kraijer (1970, Assen – woont en werkt in Rotterdam)
Lee Krasner (1908, New York – 1984, New York)
Ivan Kudriashev (1896 – 1972)
Frantisek Kupka (1871, Opocno (Tsjechië) – 1957, Pulteau)
Yayoi Kusama (1929, Nagano (Japan), woont en werkt in Tokyo)
Mikhail Larionov (1881, Tiraspol (Rusland) – 1964 Fontenay-aux-Roses (Frankrijk)
Fernand Léger (1881, Argentan – 1955, Gif-sur-Yvette)
Roy Lichtenstein (1923, New York – 1997, New York)
El Lissitzky (1890, Smolensk Oblast (Rusland) – 1941, Moskou)
René François Ghislain Magritte (1898, Lessen – 1967, Schaarbeek)
Edouard Manet (1832, Parijs – 1883, Parijs)
Henri Matisse (1869, Le Cateau-Cambrésis – 1954, Cimiez (bij Nice))
René François Ghislain Magritte (1898, Lessen – 1967, Schaarbeek)
Piero Manzoni (1933, Soncino (bij Milaan) – 1963, Milaan)
Joan Mitchell (1926, Chicago – 1992, Parijs)
George Minne (1866, Gent – 1941, Sint-Martens-Laten (België))
Joan Miró (1893, Barcelona – 1983, Palma de Mallorca)
Amadeo Modigliani (1884, Livorno – 1920, Parijs)
Piet Mondriaan (1872, Amersfoort – 1944, New York)
Claude Monet (1840, Parijs – 1926, Giverny)
Henry Moore (1898, Castleford (West Yorkshire) – 1986, Much Hadham (Hertfordshire))
Giorgio Morandi (1890, Bologna – 1964, Bologna)
Louise Nevelson (1899, Kiev (Oekraïne) – 1988, New York)
Emil Nolde, geboren als Emil Hansen (1867, Nolde – 1956, Seebüll, Neukirchen (Duitsland))
Francis Picabia (1879, Parijs – 1953, Parijs)
Pablo Picasso (1881, Málaga – 1973, Mougins)
Sigmar Polke (19412, Olesnica (Polen) – 2010, Keulen)
Lyubov Sergeevna Popova (1889, Ivanovskoe (bij Moskou) – 1924, Moskou)
Marc Quinn (1964, Londen, woont en werkt in Londen)
Paul Elie Ranson (1864, Limoges – 1909, Parijs)
Martial Raysse (1936, Golfe-Juan, woont en werkt in Issigeac (Dordogne, Frankrijk))
Odilon Redon (1840, Bordeaux – 1916, Parijs)
Gerhard Richter (1932, Dresden, woont en werkt in Keulen)
Jean-Paul Riopelle (1923, Montréal – 2002, Saint-Antoine-de-L'Ile-aux-Grues (Québec))
Auguste Rodin (1840, Parijs – 1917, Meudon)
Mimmo Rotella (1918, Catanzaro (Italië) – 2006, Milaan)
Robert Ryman (1930, Nashville (New York), woont en werkt in New York en Pennsylvania)
Jan Schoonhoven (1914, Delft – 1994, Delft)
Antonio Saura (1930, Huesca (Spanje) – 1998, Cuenca (Spanje))
Egon Schiele (1890, Tulln (Oostenrijk) – 1918, Wenen)
Paul Serusier (1863, Parijs – 1927, Morlaix (Bretagne))
Gino Severini (1883, Cortona – 1966, Parijs)
Paul Signac (1863, Parijs – 1935, Parijs)
Alfred Sisley (1839, Parijs – 1899, Moret-sur-Loing)
Jesús Rafael Soto (1923, Ciudad Bolívar (Venezuela) – 2005, Parijs)
Chaim Soutine (1893, Śmilłavičy – 1943, Parijs)
Frank Stella (1936, Malden (Massachusetts), woont en werkt in New York)
Varvara Stepanova (1894, Kaunas (Rusland) – 1958, Moskou)
Sam Szafran (1934, Parijs, woont en werkt in Parijs)
Raymond Georges Yves Tanguy (1900, Parijs – 1955, Woodbury (Connecticut))
Johannes Theodorus (Jan) Toorop (1858, Poerworedjo (Indonesië) – 1928, Den Haag)
Henri Toulouse Lautrec (1864, Albi – 1901, Gironde)
Ilja Grigorjewitsch Tschaschnik (1902, Ljuzin (Letland) – 1929 Leningrad)
Nadezhda Andreevna Udaltsova (1886, Oral (Rusland) – 1961, Moskou)
Günther Uecker (1930, Wendorf, woont en werkt in Düsseldorf)
Georges Vantongerloo (1886, Antwerpen – 1965, Parijs)
Victor Vasarely, geboren als Vásárhelyi Gyŏzŏ (1906, Pécs (Hongarije) – 1997, Parijs)
Maurice de Vlaminck (1876, Parijs – 1958, Rueil-la-Gadelière)
Jean-Edouard Vuillard (1868, Cuiseaux – 1940, La Baule-Escoublac (Frankrijk))
Andy Warhol (1928, Pittsburgh – 1987, New York)
Kim Whanki (1913, Sinan County, Jeollanam-do (Zuid-Korea) – 1974, New York)

In the show but not reported as stolen: Vincent van Gogh, Vaas met Korenbloemen, madeliefjes, papaver en anjers, 1886-87

In the show but not reported as stolen: Pierre Bonnard, Portrait de l'artiste par lui-même, 1930

"Avant-Gardes," Kunsthal Museum, Rotterdam, Netherlands. Through January 20, 2012, but closed today due to the theft.

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October 15, 2012

Thomas Micchelli: Blue on pink


In Bushwick at homey, book-lined Centotto, Thomas Micchelli presents "Portfolio x Appunti," a series of figurative work based on poems written by friends Lacy Schutz and Claudia La Rocco. In Swimmers, sleepers and rain (2012), a nine-panel painting on heavy pinkish paper pinned to the wall in a 3 x 3 grid (pictured above), figures delineated in outline appear cascading in a pale blue, claustrophobic space. Some of the figures, all beautifully drawn from memory rather than from observation, are cropped or entwined and others singular, but overall they convey a sense of isolation, vulnerablity and resignation that is both poignant and disturbing. From Micchelli's perspective, the human condition seems fragile and bleak.

Detail: Thomas Micchelli, Swimmers, sleepers and rain, 2012.

 "Thomas Micchelli: Portfolio x Appunti," Centotto, Bushwick, Brooklyn, NY. Open by appointment only.

Related posts:

February round up: Handmade, utopic, urgent and obsessive

Installation views: Man and beast in Bushwick (2012)

Micchelli: How art can effect political change (2009)





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Beverly Fishman's nonfunctional fragility

On the floor of one of the contemporary galleries at the Detroit Institute of Arts sits Beverly Fishman's Pill Spill, an installation comprising eighty-six hand-blown glass pill-shaped objects strewn about a raised platform. Crafted in halves by a master glass blower, Fishman's pairings are based on formal qualities and size, which range from about eight to fourteen inches across. First on view in 2011 at the Toledo Museum of Art where Fishman was an artist-in-residence, Pill Spill is part of a larger series, which includes paintings that reference medical test results such as EEGs.

On September 28th, Fishman held a brief discussion in the DIA gallery where her installation is housed. She remarked that her work questions the divide between poison and "the cure" -- and whether or not there is a cure at all. One viewer remarked that the capsules are hollow, unlike their "real" counterparts, perhaps referring to placebo, or that our belief in the benefits of pharmaceuticals is empty, futile. Often it's said that an exterior appearance can mimic the inside. In Life of the Mind  Hannah Arendt has commented on this: "Appearances are no longer depreciated as 'secondary qualities' but understood as necessary conditions for essential processes that go on inside the living organisms... Since we live in an appearing world, is it not much more plausible that the relevant and the meaningful in this world of ours should be located precisely on the surface?"

The pills in Fishman's installation are also decidedly fragile -- and nonfunctional -- which, in relation to our bodies, speaks to our attention to superficial qualities as opposed to function and health. The glass capsules are unbelievably tactile, slick, and vibrant, which doesn't seem to translate through their documentation. A glass-blower in attendance at the lecture mentioned that few have bridged the gap between craft and fine art as successfully as Fishman in this installation. In her use of materials, Fishman comments on the seductive qualities of pharmaceuticals and the commonality of overlooking consequences in "quick fix solutions" in society today.


Image at top: Beverly Fishman’s “Pill Spill” is on view at the Detroit Institute of Arts through the end of the year. Photo by Eric Wheeler, Detroit Institute of Arts.

 Related posts:
Community collectives at MOCA Detroit
Mike Kelley's paintings
Julie Mehretu returns to Detroit

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October 14, 2012

Valentine hearts painting

 I went out to Ridgewood today and caught the last day of "4 Who Paint," a group show at Valentine that features work by Lauren Collings, Barbara Friedman, Gili Levi, and Shelley Marlow. Although I didn't discern a clear curatorial premise, the paintings look good, bouncing ideas off each other and reveling in their sheer painterliness. In the smaller front gallery, Patricia Satterlee presents a suite of charming small paintings comprising iconic green shapes that seem almost prehistoric, like old pottery shards or agroglyphs seen from above.








In the gift shop, Fred Valentine hung one of his own small paintings. He started painting small-scale abstractions as a joke, but you can tell he sort of fell in love with the process.

"4 Who Paint: Lauren Collings, Barbara Friedman, Gili Levy, Shelley Marlow," Valentine, Ridgewood, Queens, New York, NY. Through October 14, 2012

"Patricia Satterlee," Valentine, Ridgewood, Queens, New York, NY. Through October 14, 2012


Related posts:
My neighbors at 117 Grattan Street (2012) 
Talking about his art: Fred Valentine (2011)


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October 13, 2012

EMAIL: Rebecca Morris writes regarding Raoul De Keyser


Hey Sharon,

I just saw your piece on Raoul. Such an important artist for so many people, including myself. Thanks for posting. We show at the same gallery in Berlin, Galerie Barbara Weiss. It was one of the original connections I made with Barbara when we first met--our mutual admiration of Raoul's work!

I wanted to send this link on to you. Raoul did his last solo show with Barbara this past summer. It was quite beautiful, titled "To Walk." He worked with GBW for many years and I believe there will be an upcoming catalog of this last show.

Best wishes,

Rebecca

Image above: Raoul De Keyser's paintings for "To Walk," courtesy Galerie Barbara Weiss.

Related posts:
Influential painter Raoul De Keyser is dead at 82
Rebecca Morris: Stubborn and independent

Rebecca Mosrris: Isn't it ironic?



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The Double Life of the Artist Mother

Dear Readers,
Please join us for a lively (and I hope brutally honest) conversation this Tuesday at the School of Visual Arts Theater.

Taking Custody: The Double Life of the Artist Mother
A Panel Discussion moderated by Sharon Butler of Two Coats of Paint
Tuesday, October 16, 2012, 7pm
SVA Theater

UPDATE: Video of the event is posted here.

Press release:
The Office of Development and Alumni Affairs at the School of Visual Arts (SVA) presents Taking Custody: The Double Life of the Artist Mother, a panel discussion among visual artists who are also mothers. Artist, educator and blogger Sharon L. Butler  will moderate a conversation with alumni Suzanne McClelland (MFA 1989 Fine Arts), Katherine Bernhardt, (MFA 2000 Fine Arts), Rachel Papo (MFA 2005 Photography, Video and Related Media) Amy Stein (MFA 2006 Photography, Video and Related Media), and Renée Cox (MFA 1992 Photography), and faculty member Danica Phelps. The artists will discuss their experiences negotiating the demands of the commercial art world with those of motherhood. The event will take place on Tuesday, October 16, 7pm at the SVA Theatre (333 West 23 Street). Admission is free and open to the public.

Three decades after women’s liberation, journalists like Ann-Marie Slaughter continue to explore “Why Women Still Can’t Have It All” (The Atlantic July/August 2012), driving home the difficulties of balancing motherhood with a highly-demanding career. But we have yet to hear from the creative community about the unique challenges working mothers face. How do women artists answer their creative calling—often without a steady income—while satisfying the daily demands of raising children?

Although many women artists may feel the need to choose between pursuing their passion and having a family, the panelists will discuss their experience doing both, from what they sacrifice and struggle with day-to-day to how they find time to go to the studio, arranging childcare and cultivating relationships with their children while remaining committed to their artistic practice.

Mary Cassatt, Tea, 1880, oil on canvas, 25½ × 36¼ inches. Mary Cassatt, although famous for her depictions of mothers with their children, never married or had kids of her own. 
Image courtesy of Museum of Fine Arts, Boston

Katherine Bernhardt is a painter represented by CANADA gallery. She earned her MFA in Fine Arts from SVA in 2000. She has a 17-month-old son and practices attachment parenting.

Sharon L. Butler maintains the award-winning art blog Two Coats of Paint and is represented by Pocket Utopia. Based in New York City, she spends weekdays with her 13-year-old daughter in Connecticut, where she currently has an exhibition at Real Art Ways and is teaching an MFA seminar at the University of Connecticut.

Renée Cox (MFA 1992 Photography) is a controversial Jamaican-born photographer who uses her body to push the boundaries of racism, sexism, religious and social issues. In Yo Mama's Last Supper, Cox recreates Da Vinci's The Last Supper, casting herself as Christ. This piece was exhibited at the Brooklyn Museum in 2001 and drew the ire of former Mayor Giuliani when he called for the establishment of "decency standards" for any art exhibited in a museum receiving public funds. Renee has two sons, aged 23 and 19.

Suzanne McClelland is a widely-exhibited painter who received her MFA in Fine Arts from SVA in 1989 and is now represented by Shane Campbell Gallery in Chicago and Galerie Andres Thalmann in Zurich. She has two children, a 27-year-old daughter, who was a toddler while she was in graduate school, and an 11-year-old son.

Rachel Papo is a freelance photographer whose work has been published in the The New York Times, New York magazine, Dance Magazine and Real Simple. After her daughter Zohar was born in 2010, she left Brooklyn and moved upstate to Woodstock, where she now lives with her husband Micah and daughter, commuting to Manhattan for occasional assignments.

Danica Phelps is a conceptual artist represented by Brennan & Griffin who has made her work about her everyday life since 1995. Most recently, the subject of these works on paper has been her son, now three years old, who accompanies her during the installation of all of her exhibitions, both at home and abroad.

Amy Stein is an artist and educator based in New York City. Her work deals with humankind's increasing isolation from nature, culture and oneself. She teaches at Parsons The New School, SVA and the International Center for Photography. She lives in Queens with her husband and one year old son.

For further information, please contact the Office of Development and Alumni Affairs at alumni@sva.edu. Follow the conversation on Twitter #SVATakingCustody

Related posts:
Neo-Maternalism: Contemporary artists' approach to motherhood

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October 9, 2012

Influential painter Raoul De Keyser is dead at 82

According to ArtForum, influential Belgian artist Raoul De Keyser (b. 1930) has died.
The Deinze-based painter had a reputation for a rigorous attention to painting techinique and as well as self-imposed hermitage, earning him the moniker “sphinx of Deinze.” Before a career as an artist, which he came to rather late in his life, De Keyser was a sports journalist and an administrative assistant at Ghent University. He studied painting at the Academy of Fine Arts, in Deinze, Belgium, underneath Roger Raveel and later became involved in the “New Vision” school of Belgian painters. After parting ways with the group to pursue his own artistic interests, De Keyser began to gain the attention of the international art community. However, it wasn’t until his inclusion in the 1992 Documenta in Kassel, curated by Jan Hoet, that he rose to such prominence
Featured in Raphael Rubinstein's pivitol 2009 essay, "Provisional Painting," De Keyser has been particularly revered among contemporary abstract painters who embrace his brand of casualismRubinstein wrote that
De Keyser’s paintings tend to be modest in size, so that they have already forfeited “heroic” ambitions even before the first mark is made. Unlike many painters who wield impressive techniques in small-scale work (Tomma Abts, James Siena, Merlin James), De Keyser doesn’t compensate for modesty of size with complex compositions or dazzling brushwork. On the contrary, he works in a manner so low-key that even sympathetic critics can be unsure how to evaluate his paintings. In 2006, New York Times reviewer Roberta Smith noted his “weird combination of deliberation and indecision”; in 2004, Barry Schwabsky, writing in Artforum, described the oscillating responses De Keyser’s work can inspire: “Slapdash handling gradually begins to seem surpassingly sensitive—or is it? The grubby color, fresh and beautifully calibrated—but is it, really? The sense of doubt never quite goes away.”
Last year he had a solo show at Zwirner in New York.

Raoul De Keyser, Turkish 1 Mai in Belgium, 2009, oil, gesso, and acrylic on canvas, 17 1/2 x 13 5/8 inches. Image courtesy of David Zwirner.

In his own words: In 2001 independent curator Greg Salzman organized a De Keyser survey at The Renaissance Society in Chicago that traveled to The Goldie Paley Gallery at Moore College of Art and Design in Philadelphia. The exhibition was accompanied by a fully illustrated catalog, edited by principle essayist Steven Jacobs, with writings by Roberta Smith, Ulrich Loock, Wim Van Mulders and others. Here's a video, produced in conjunction with the show, of  De Keyser talking about his work.


Raoul de Keyser Artist Talk from The Renaissance Society on Vimeo.

Related article: Eugenia Bell's Frieze review of De Keyser's 2011 Zwirner show. "This exhibition further confirmed his commitment to the act, the texture and the struggle to locate beauty. The paintings, some as affecting as anything he’s done, are not intentionally beautiful, the near-irreverence they often emit is here subdued, but De Keyser’s work never fails to draw the viewer in to his meditative ambiguity."


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October 8, 2012

Manifesto: Yellowism

"I would like to show such a wonderful piece in the context of Yellowism," Vladimir Umanets, the delusional Tate Rothko tagger, a vandal who sincerely thinks he has increased the value of the Rothko painting, told a reporter from the BBC yesterday. For all the manifesto writers out there (UConn second-year MFA students, I'm talking to you) here's the Yellowism manifesto that Umanets posted on his  blog.


Tim Wright tweeted this photo moments after the incident. (via @WrightTG). Color corrected by Hyperallergic.

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