October 19, 2014

Colleagues: Judith Schaechter and Eileen Neff


Two of my talented colleagues at the Pennsylvania Academy of Fine Arts have solo shows in Chelsea this month. At Claire Oliver, Judith Schaechter presents beautiful but disturbing stained glass lightboxes and kiln-cast glass sculptures about sex and death, and at Bruce Silverstein, Eileen Neff explores perception, mirroring, and memory in an installation of staged and often manipulated photographic images.

[ Image at top: Judith Schaechter, Harpy, stained glass lightbox, 37 x 33 x 2 inches.]

October 18, 2014

David Humphrey's vantage point


David Humphrey's extraordinary exhibition at Fredericks & Freiser tells stories about our engagement with the world. It is a tour de force of eclecticism, expansiveness, and integration, unifying ostensibly disparate images through the shared phenomenon of depicted observation. 

[Image at top: David Humphrey, Performance, 2014, acrylic on canvas, 45 x 60 inches. All images courtesy of Fredericks & Freiser.]

October 17, 2014

Quick Study


Links for today include Crossing Brooklyn, Frieze London, Arts Gowanus, Ebola, Cubism, Gavin Brown's new location, and more.

[Image at top: Greg Allen, Study for Untitled (Tanya), 2014, lasercopy and graphite on white paper, 11x8.5 in., ed. 50.]

Darren Waterston: Opulence and ruin


Contributed by Hannah Kennedy, Two Coats Intern / Darren Waterston’s paintings and an installation called Filthy Lucre are on view at Mass MOCA through January 2015. Ranging from small canvases to engrossing alien landscapes, Waterston's paintings evoke otherworldly abstractions: dark and mysterious yet inviting. Filthy Lucre, a re-interpreted interior installation, represents a major departure from Waterston’s previous work but still evokes a similar aesthetic and experiential scene.

[Images: Darren Waterston, Filthy Lucre, 2013-2014, mixed media, 20 x 30 x 12 feet, courtesy of the artist and DC Moore Gallery.]

October 16, 2014

Lovable: Chris Martin at Anton Kern


In his first solo show at Anton Kern, Chris Martin presents a bright, shining cosmos that signals a shift from the more visually subdued, densely painted work presented in his final show at Mitchell-Innes and Nash. Many of Martin's new pieces feature loopy landscape imagery laced with glitter, while lacking the object-image play present in his last show. (Remember the nap nooks and cut-through canvases?) 

[Image at top: Chris Martin, Tree, 2014, acrylic on canvas, 88 x 77 inches. All images courtesy Anton Kern Gallery, New York.]

October 14, 2014

October 14: Andrew Ginzel's list of NYC shows and events


SOME but not all NYC SELECTED SHOWS TO SEE / October 14, 2014  / Listed south to north. Compiled by artist Andrew Ginzel for his students at the School of Visual Arts. Note: Images have been selected by Two Coats of Paint.

[Image at top: Chris Martin @ Anton Kern]

October 13, 2014

Gedi Sibony moves beyond the Provisional



Gedi Sibony continues to repurpose and recycle objects, but his new work moves considerably beyond the abject provisionality of earlier work. In Greene Naftali's bunker-like new ground-floor space on W.26th Street, Sibony presents huge pieces of metal cut from a stash of decommisioned semi trailers. The logos and advertising text are painted out (redacted), and the metal flats are presented as traditional paintings, humbly hung on the wall like any other painting exhibition. 

[Image: Gedi Sibony, Stumble Riser, 2014, aluminum semi-trailer, 120 3/8 x  90 1/2 inches 


October 12, 2014

Ideas and Influences: Helen O'Leary


Helen O'Leary grew up in rural Ireland in the the 60s and 70s, where her mother's philosophy was "if you can't make it, you can't have it." In her 2010 Guggenheim application she wrote that this spirit of creativity and "making do" carries over into her work:
Throughout my career, I have been constructing a very personal and idiomatic formal language based in simple materials and unglamorous gestures, a framework which functions as a kind of syntactical grid of shifting equivalences. The “paintings” that emerge from this process know their family history, a narrative of greatness fallen on hard times. Yet, for all that, they remain remarkably un-defensive, wobbly, presuming no need to disavow the past or defy the present....
My new work delves into my own history as a painter, rooting in the ruins and failures of my own studio for both subject matter and raw material. I have disassembled the wooden structures of previous paintings—the stretchers, panels, and frames—and have cut them back to rudimentary hand-built slabs of wood, glued and patched together, their history of being stapled, splashed with bits of paint, and stapled again to linen clearly evident. The residual marks on the frames, coupled with their internal organization, begin to form a constellation of densities, implying an idiomatic syntax of organic fluctuation where compact spaces coexist with the appearance of gaping holes where the rickety bridges have given way. Formal and structural concerns become inseparable, the slippery organization of their fluctuating grids showing a transparency both literal and historical. With both serenity and abandon, these structures imagine the possibility that painting might take root and find a place to press forward into fertile new terrain.
On the occasion of her forthcoming solo exhibition at the Irish Arts Center, "The Geometry of Dirt," I asked O'Leary to put together a list of the things that she's thinking about.

[Image at top: Work in progress in O'Leary's studio]

October 9, 2014

Christopher Deeton's symmetries


In Bomb, Raphael Rubinstein wrote about Christopher Deeton's big, fluid, black abstractions on view at MAKEBISH through the end of the month. The paintings evoke Morris Louis's Color Field paintings, but Rubinstein, long an admirer of Deeton's work, says there's more to it than that. Here's an excerpt:
Maybe Orozco’s depiction of the fire-stealing god also planted seeds for the bilateral symmetry that dominates Deeton’s recent work. Eliciting beautiful tonal nuances from black paint alone, Deeton uses symmetry not to riff on the legacy of Morris Louis, but to devise a new iconography and a new technique—despite appearances, his arcing bands are not poured à la Louis but laid down with a paintbrush. Evoking the mirroring structures that pervade the natural world as well as suggesting the more remote symmetries of particle physics, Deeton’s paintings unfold like butterfly wings and loom up like Gothic gates, at once pulling the viewer in ever deeper and marking the magical frontier between two realms. The latest in a long line of artist-alchemists, he sees his paintings as the result of “discovery” rather than “invention”; they are, he says, “the physical manifestation of something that exists elsewhere.
"Christopher Deeton: Numbers," MAKEBISH, West Village, New York, NY. Through October 2014.

Related posts:
Morris Louis investigation
Catalogue essay: COVER THE EARTH by Stephen Maine

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Two Coats of Paint is licensed under a Creative Commons Attribution - Noncommercial-No Derivative Works 3.0 United States License. For permission to use content beyond the scope of this license, permission is required.

Melissa Meyer's FASCINATION


Over the summer Melissa Meyer and I exchanged leisurely studio visits, first at my studio in DUMBO and then at hers on West 39th Street. On the second floor of an unassuming office building in the fabric district, Meyer's space has a timeless view of a bustling Manhattan street that reminded me of paintings by Ashcan School artists like Robert Henri, John Sloan, and George Luks. She had just returned from a long residency at Yaddo, where she completed Fascination, a letterpress book project (pictured above) that featured poems by South Korean poet and activist Ko Un.

October 6, 2014

Printmaking Monday: I'm a steamroller baby

 

This weekend the Garrison Art Center celebrated their 50th Anniversary with "Rollin on the River," a woodblock printing event that featured a steamroller, a parking lot, a lovely view of the Hudson River, and a bunch of 8 x 6 foot sheets of plywood.

"We had a beautiful day," artist Leslie Kerby reported. "About 18 artists created large woodblock prints up to 8' x 6', families with kids participated creating lino cuts and collographs by gluing a variety of textured pieces onto paper to create a relief print."

Leslie sent the following snaps that show the printing process, the steamroller and some of the final prints. Besides Kerby, the participating artists included Jett White of Totemic 17, Susan English, Duvian Montoya, Laura Kaufman and Thomas Huber


October 2, 2014

Richard Tuttle reviews I, Augustus, Emperor of Rome

This month in The Brooklyn Rail Richard Tuttle contributes "Augustus," a long form essay/free writing exercise in poem form that seems to emulate a writing style that might have been prevalent in ancient Rome. The piece is about I, Augustus, Emperor of Rome, a dazzling exhibition presented at the Grand Palais in Paris this summer that, according to Alistar Sooke in The Telegraph,  "shows how Augustus harnessed art to achieve his political objectives." The exhibition featured statues, sculpted reliefs, frescoes, household items like furniture and silverware, a reconstructed villa from Vesuvius, and tombs uncovered in Gaul.

[Image: The official catalog for the exhibition.]
statues, sculpted reliefs, frescoes, pieces of furniture and silverware, along with a reconstruction of a villa from the slopes of Vesuvius and tombs uncovered in Gaul reveal the changes in the social environment of the Romans. - See more at: http://www.grandpalais.fr/en/event/i-augustus-emperor-rome#sthash.c6Nx697p.dpuf
statues, sculpted reliefs, frescoes, pieces of furniture and silverware, along with a reconstruction of a villa from the slopes of Vesuvius and tombs uncovered in Gaul reveal the changes in the social environment of the Romans. - See more at: http://www.grandpalais.fr/en/event/i-augustus-emperor-rome#sthash.c6Nx697p.dpuf

statues, sculpted reliefs, frescoes, pieces of furniture and silverware, along with a reconstruction of a villa from the slopes of Vesuvius and tombs uncovered in Gaul reveal the changes in the social environment of the Romans. - See more at: http://www.grandpalais.fr/en/event/i-augustus-emperor-rome#sthash.c6Nx697p.dpuf
I was going to run an excerpt of Tuttle's piece, but decided to run the whole thing because he makes interesting connections with ancient and contemporary art. I'm interested in the different ways artists and critics are beginning to write about art, and I  couldn't decide which section to publish. So: read it quickly before Tuttle (or The Brooklyn Rail) sends me a note and asks me to take it down!

TBT: Old New York


 John Sloan, The City from Greenwich Village, 1922, oil on canvas, 26 x 33 3/4 inches. National Gallery of Art, Washington, DC. Gift of Helen Farr Sloan in 1970. 

 From the National Gallery of Art's website:
The City from Greenwich Village is a lyrical celebration of the vitality and excitement of life in lower Manhattan. Looking south over Sixth Avenue from the artist's Washington Place studio on a rainy winter evening, electric light merges with moonlight, casting an evocative golden glow over the city. At the far left, New York's skyscrapers seem to hover over the city like a shimmering celestial vision. Sloan's painting conveys a nostalgic, romanticized mood, one that contrasts strongly with the scenes of tenement life, teeming city streets, and desolate back alleys that he and fellow members of the "Ash Can School" had produced during the first decade of the century.

The artist's ambiguous reference to "moonshine" on the billboard in the left foreground both documents the city's commercialization and lends a poetic aura to the scene. This urban imagery may be seen as a precursor to American art of the 1960s, when Pop artists appropriated advertising motifs and Photo-realists immortalized the architectural richness of New York.
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Two Coats of Paint is licensed under a Creative Commons Attribution - Noncommercial-No Derivative Works 3.0 United States License. For permission to use content beyond the scope of this license, permission is required.

October 1, 2014

Politics and abstract painting: Matthew Deleget at OUTLET


In the beginning, when Malevich and El Lissitzky were making some of the first Western abstract paintings,  abstraction was infused with politics and ideas. The connection continued through European art movements in the 1960s and 1970s, such as Arte Povera, ZERO Group, and Supports/Surfaces. In recent years, however, abstract form and process have become vehicles for more personal, less strident explorations of the provisional, the contingent and the casual.

[Image at top; Matthew Deleget, High Value Target, 2014, fluorescent orange enamel spray paint on wooden panel, 24 x 24 inches.]

September 25, 2014

It's good to be lonely: Jason Tomme at Theodore:Art


Stephanie Theodore gets the prize for press release of the day for her five deceptively simple takes on Jason Tomme's exhibition. The show is a compelling mix of different media, from wood and stone sculptures and found objects to finely detailed pencil drawings, which I can imagine the artist making alone, in his studio, contemplating art's need for solitude, all the while longing for human companionship and conversation. We can all relate to that.

[Jason Tomme, Crack Painting September 2014, 2014, oil on linen, 24 x 18 inches.]

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