FRANKLIN EVANS (b. in 1967 in Reno, NV) received his Bachelor of Arts degree from Stanford University in 1989 and his Master of Fine Arts degree from the University of Iowa in 1993.
He has had numerous solo exhibitions, including “XLtime,” Abrons Arts Center, New York, NY; “spreadsheetspace,” Prosjektrom Normanns, Stavanger, Norway; “headandhandinhand,” Spazio 22, FL Gallery, Milan, Italy; “juddrules,” Montserrat Gallery, Montserrat College of Art, Beverly, MA; “juddpaintings,” Steven Zevitas Gallery, Boston, MA; “timepaths,” Nevada Museum of Art, Reno, NV; “paintingassupermodel,” Ameringer | McEnery | Yohe, New York, NY; “houstontohouston,” Diverse Works, Houston, TX; and “eyesontheedge,” Sue Scott Gallery, New York, NY.
Recent group exhibitions include "Manet to Maya Lin," Nevada Museum of Art, Reno, NV; “Legacy: Highlights from the Roanoke College Permanent Collection,” Olin Gallery, Roanoke College, Salem, VA; “La lama di Procopio,” Nuovo Spazio di Casso, Casso, Italy; “2 Years of Looking,” New Art Projects, London, England; “Dynamic Pictorial Models,” 101/EXHIBIT, Los Angeles, CA; “Rock, Paper, Scissors, and String,” Weatherspoon Art Museum, Greensboro, NC; “Abstraction,” Fondation pour l’art contemporain Salomon, Annecy, France; “Premio Lissone 2014,” Museo d’arte contemporanea di Lissone, Lissone, Italy; “Material Images,” Johannes Vogt, New York, NY; “Paint Things,” deCordova Sculpture Park and Museum, Lincoln, MA; “Decenter: An Exhibition on the Centenary of the 1913 Armory Show,” Abrons Arts Center, New York, NY; “Greater New York 2010,” MoMA PS1, Long Island City, NY; “Collision,” RISD Museum, Providence, RI; and “El Museo’s Bienal: The (S) Files 007,” El Museo del Barrio, New York, NY.
His work is included in many public and private collections including the Orlando Museum of Art, Orlando, FL; El Museo del Barrio, New York, NY; Yale University Art Gallery, New Haven, CT; Weatherspoon Art Museum, University of North Carolina, Greensboro, NC; Roanoke College, Salem, VA; Sweeney Art Gallery, University of California, Riverside, CA; Pizzuti Collection, Columbus, OH; The Progressive Art Collection, Cleveland, OH; and Collection AGI, Verona, Italy.
He is a recipient of the 2017-18 Pollock-Krasner Foundation Grant, as well as a past recipient of the National Endowment for the Arts Fellowship at The MacDowell Colony, Peterborough, NH in 2016; Kennedy Artist-In-Residence, University of South Florida, Tampa, FL in 2016; Cosmopolitan/Art Production Fund P3Studio, Las Vegas, NV in 2015; and New York Foundation for the Arts (NYFA) Painting Fellowship in 2015, among others.
Franklin Evans lives and works in New York, NY.
Next to Nothing presents a group exhibition that revisits early Modern figurative painting and Symbolist poetry through the recent work of 12 contemporary artists. The artists in the exhibition inflect Modernist forms with contemporary perspectives on intimate subjects including: the poetics of domestic architecture, the pertinence of ancient myth, and the solipsism of art history.
In celebration of Roanoke College's 175th anniversary this exhibition will showcase artists from the Roanoke College's Permanent Collection which will include Cory Archangel, Dennis Ashbaugh, Alice Aycock, Walter Biggs, William Binnie, Edward Marshall Boehm, Alice Ray Cathrall, Paul Chan, William Merrit Chase, Salvador Dali, N. Dash, E.V. Day, Betty Dixon, Michele Oka Doner, Bradford Ellis, Elliot Erwitt, Margaret Evangeline, Franklin Evans, Mark Fox, Clare Grill, Dorothy Gillespie, Debbie Grossman Jane Hammond, Pablo Helguera, Ryan Humphrey, Guillermo Kuitca, Diego Lasansky, Liz Magic Lazer, Shane McAdams, Yassi Mazandi, Tom Otterness, Alexandra Penney, Nathaniel Mary Quinn, Alan Reid Duke Riley, Rachel Rose, Kay Rosen, Emily Roysdon, Hunt Slonem, George Solonevich, Keith Sonnier Fred Tomaselli, Kerry Tribe, Robert Vickery, Andy Warhol, Rob Wynne, Firooz Zahedi and Andrew Zuckerman.
Everyone enjoys a good story, and when you visit the Ameringer McEnery Yohe Gallery in Chelsea, you can enjoy a wealth of interesting stories in the work currently on display. When I peeked in the window before entering, I knew I was in for a treat. The first thing I saw were these large canvasses filled with primary and neon colors arranged in interesting geometric shapes. Once I entered, I knew immediately this wouldn’t be an exhibit I could simply breeze through and get a general sense of. I spent as much time as possible with the paintings, practically eating up the rich story life in each.
A Dolomiti Contemporanee and AGI Verona Collection exhibit Curated by Gianluca D'Incà Levis and Giovanna Repetto
Opening Saturday, 5 August, 6 PM
Artists: Gundam Air, Franklin Evans, Stuart Arends, Cristian Chironi, Ode De Kort, Alexandre Singh, Etienne Chambaud, Gianni Caravaggio, Eugenia Vanni, Marcelline Delbecq, Corinna Gosmaro, Pratchaya Phintong, Renato Leotta, Marko Tadic, James Beckett, Jiri Kovanda, Davide Mancini Zanchi, Maria Laet, Ivan Moudov, Michail Sailstorfer/Heinert Jürgen, Christian Manuel Zanon.
La lama di Procopio is a collective contemporary art exhibit, realized thanks to the collaboration between Dolomiti Contemporanee and the AGI Verona Collection by Anna and Giorgio Fasol, and that hosts the works of twenty-two young international artists.
Jackie Gendel (b. 1973, Houston, TX) received her BFA from Washington University, St. Louis, in 1996 and her MFA from Yale University in 1998. Recent exhibitions include Thomas Erben, New York; Jeff Bailey, Hudson; and Loyal Gallery, Malmö. Reviews of her work have appeared in Modern Painters, Artforum, Art in America, New Yorker, and Hyperallergic, to name a few. Gendel lives and works in Brooklyn, New York.
Franklin Evans creates painting installations with the artist’s studio as subject. He lives in New York. He has exhibited institutionally at MoMA PS1, The Drawing Center, El Museo del Barrio, deCordova Sculpture Park and Museum, RISD Museum. Awards include MacDowell Fellow; Yaddo Fellow; The Marie Walsh Sharpe Space Program; LMCC Workspace; NYFA Fellow Painting; Pollock- Krasner Foundation. He is represented by Ameringer McEnery Yohe in Chelsea. Jennifer Samet is a New York City-based curator and writer. She teaches art history at The New York Studio School and The New School, and is the author of the popular column "Beer with a Painter," in Hyperallergic. She is also the co-director of Steven Harvey Fine Art Projects, in the Lower East Side. WEDNESDAY, MARCH 1, 2017
New York Studio School of Drawing, Painting & Sculpture
8 West 8th Street, New York, NY 10011
Lectures begin at 6:30 pm. Lectures are free and open to the public. Seating may be limited.
by Eric Sutphin
As I waited in the lobby of the Experimental Theater to see Juliana May's Adult Documentary (2016), amid a scrappy installation by Franklin Evans composed of paper detritus and neon tape, I felt unmoored, uninitiated. Had I not read enough Butler or Sedgwick or Baldwin to fully understanding the goings-on? Has realness become institutionalized as yet another countercultural phenomenon that has been converted into an academicized aesthetic proposition? Sound bites from the crowd began to tell me a thing or two. A young woman behind me said to a well-known choreographer: "I just wrote about you in my grad school application . . . I mean, I don't even know if I want to go to grad school, but it's, like, so hard out here." Shortly after, a refined young man said to the same choreographer: "My adviser told me to just sit down and make sentences. So I did that and, you know, walked away with a PhD." This account of academic achievement, despite its shoegaze simplicity, seemed like rather sound advice to a choreographer (or critic). Though May's piece seemed milquetoast and insular (full as it was of inside jokes about dance that made the dance-world folks in the audience chuckle to themselves), it became clear that a venture like American Realness is absolutely vital. The conversation and kvetching (and posturing and flattering) that was going on before the doors opened galvanized the spirit of realness, which at its best foregrounds both attitude and inclusion. In a political moment where feelings of anger, alienation, and profound uncertainty are reinforced daily, American Realness continues to be not only an outlet, but a lifeline.
The Fountainhead Residency provides artists an environment to create, converse, inspire and be inspired outside of daily routines and traditional confines of their home life. From the moment artists arrive they’re immersed in the visual beauty of Miami and the color and depth of the local community. In addition to creating work while at The Residency; artists attend openings and talks, visit museums and galleries, and receive vital feedback from art professionals through one-on-one studio visits and public open houses.
Abrons Arts Center, Main Gallery 466 Grand Street / FREE
Franklin Evans creates painting installations with the artist’s studio as his subject. Evans collaborated with Trajal Harrell on the scenic design for Twenty Looks or Paris is Burning at the Judson church (S). American Realness 2017 presents the release of the digital publication of Trajal Harrell’s Twenty Looks or Paris is Burning at The Judson Church (XL). The release is accompanied by an installation, entitled XLtime, created by visual artist Franklin Evans made in collaboration with (XL).
Stark Naked: Uncovering Bodies, Objects, and the Futility of Desire Curated by Robert Moeller Pop-up exhibit showing 37 artists in 6 curated spaces
With curated spaces by: J.R. Uretsky Franklin Evans Lillian P.H. Kology Sam Toabe Gabriel Sosa
readingroomincolor” – a site-specific installation by Franklin Evans
American artist Franklin Evans will present a site-specific installation at CROSSROADS. His work is influenced by the architecture of the space, inspiring the form and space that he, in turn, will present to the viewer to engage with. Evans, who trained as a painter, is interested in materiality and incorporating paintings into an environment. His immersive works are built from amassed art supplies and materials found in his studio space—including artists’ tape adhered to the walls, floor and ceiling, bubble wrap, old newsprint, un-stretched canvases and press releases from gallery exhibitions.
New York - Cara Gallery is pleased to present Relevant Notes, a collective exhibition that presents a dialogue between the work of 11 artists to explore the boundaries of disciplines among installation art, land art and architecture. Exhibiting in a wide variety of medias including installation, drawing, photography, painting and sculpture – each created over the past five decades - act as relevant notes to the testimony of the artists’ interpretation of the concept of human intervention. Studying their sustainability in the natural environment, these artists take the location and materials of their work into careful consideration using cultural, political and environmental histories to create art as a catalyst for change.
By Bridget Gleeson
Compared to solo exhibitions, group shows can seem unfocused—the artists arbitrarily arranged, their works adhering, however loosely, to a central theme. Not so with “Dynamic Pictorial Models,” at 101/Exhibit in Los Angeles. The show, featuring pieces by four artists, was specifically and intentionally planned down to the last detail.
101/EXHIBIT proudly presents Dynamic Pictorial Models, an exhibition featuring gallery artist Pedro Barbeito in collaboration with artists Lydia Dona, Fabian Marcaccio, and Franklin Evans. The opening will be held from 6-9pm on Saturday, March 12th at 8920 Melrose Ave, located on the corner of North Almont Drive, one block south of Santa Monica Blvd. A full-color catalog with essay entitled “New Models, Strange Tools” by New York-based poet and art critic Raphael Rubinstein will accompany the exhibition.
The Cosmopolitan of Las Vegas, in partnership with Art Production Fund, is pleased to announce P3Studio artists-in-residence Kate Gilmore and Franklin Evans. Through their interactive project, “Shelf Life,” Gilmore and Evans will use the activity of shared art making to explore Las Vegas. By juxtaposing the absurd with the logical, the project’s collection of curated and transformed material objects will reflect the principles that underlie the artists’ broader portfolios.
Spreadsheetspace is a new installation by Franklin Evans using the grid and organizational format of the Excel spreadsheet to construct a three-dimensional painting space. The installation shows the how and what of painting, memory, and the construction and navigation of studio practice and the art world. Digital prints, paint, process notes, residual painter’s tape, and images combine to suggest both the interior of three-dimensional painting and the brain of an artist organizing information. The images and information include: (i) the artist’s Haugan family from Morgedal, Norway whose great-grandfather (Olaf Haugan, the ski jump world record holder, 1879) immigrated to the United States, (ii) contemporary art and art history, (iii) art world logistics, and (iv) the process logistics for spreadsheetspace.
A work, futuredpast, by Franklin Evans is included in a group exhibition, NEW NEW YORK: ABSTRACT PAINTING IN THE 21ST CENTURY, at the University of Hawaii at Manoa.
A renaissance of abstraction has recently surfaced cross New York. The sine qua non of modern art, abstraction fell out of favor in the late twentieth century with the emergence of postmodernism and its concepts of paradox, pastiche and deconstruction. But at the beginning of the twenty-first century, abstraction has arisen from the ashes of its professed death with a power and potency rivaling its inception. This phenomenon and the reasons for its resurgence are considered in NEW NEW YORK: Abstract Painting in the 21st Century.
The New York Foundation for the Arts (NYFA) has announced the recipients and finalists of its Artists’ Fellowship Program. The organization has awarded a total of $642,000 to 95 artists (including four collaborations) throughout New York State in the following disciplines: fiction, folk/traditional arts, interdisciplinary work, painting, and video/film. Fifteen finalists (three per discipline), who do not receive a cash award, but benefit from a range of other NYFA services, were also announced. A complete list of the Fellows and finalists follows.
This exhibition will explore connections between a range of modern and contemporary artworks that employ innovative materials and approaches to image-making. The show’s title Rock, Paper, Scissors, and String both recalls the familiar childhood game of chance and reflects the exhibition’s focus on the inventive use of artmaking materials, compositions, or techniques to create each work.
It has been a year of variety and surprises as to the range of shows we’ve covered. Any singular thing does not quantify the degree of how a show leaves a deep impression as it can be one tiny detail or a grand statement. Such trivial thoughts are best left to the wind as we have pinned down the Best of 2014 for all of our loyal and still growing readers. We raise a glass to 2014 for the year that was and here’s looking forward as AF keeps an eye always to the future.
Matisse Etc. (part 2)
Amy Feldman, Stanley Whitney, Bernard Piffaretti, Laura Owens, Michael Krebber, Matt Connors, Rebecca Morris, Patricia Treib, Lori Ellison, Franklin Evans)
How is it that someone who dreamed of “an art of balance, of purity, of serenity, devoid of troubling and depressing subject matter” became a source of relentless innovation and provided a map for the deconstruction (with Supports/Surfaces, Pattern & Decoration and artists as diverse as Simon Hantaï, Al Loving and Jessica Stockholder) of the very medium through which he hoped to achieve serenity? French scholar Rémi Labrusse has described Matisse’s “radical decoration” as the result of his staged confrontation between Western mimesis and Eastern decoration. Clement Greenberg, who dreamed of an avant-garde pastoral, attributed Matisse’s impact to “the paint, the disinterested paint.”
39;With Artist Franklin Evans, An Immersive Experience,' by Cate McQuaid
Franklin Evans drops viewers into his own weird wonderland. Once you’re down the rabbit hole, you may be as awed and dismayed as Alice herself.
Evans has two shows up now, at Montserrat College of Art Gallery and Steven Zevitas Gallery. Walk into his installation at Montserrat, and it’s like stepping inside a painting. Colors and lines are everywhere: on walls, on the ceiling and floor; in corridors of vertical strips of colored tape. The same is true, on a more modest scale, at Zevitas.
Steven Zevitas Gallery is pleased to present juddpaintings, an exhibition of new work by New York-based artist Franklin Evans. The exhibition will be on view from Friday 24 October through Saturday 13 December, 2014, with an opening reception Friday 7 November.
In juddpaintings, Evans presents a new installation comprised of wall painting, collage, paintings, digital prints, tape, process notes, and laminations. The exhibition presents the decomposition of his installation practice to the primary object subject of his practice: Painting. Upon entering the exhibition, the viewer passes through a threshold of a floor to ceiling installation of paint, images and process and into a gallery of walls painted bands of the color spectrum that dissolves to white. Paintings are hung on the walls and move from varying degrees of contextual mediation to an uninterrupted object on a white wall.
La Fondation Salomon is pleased to announce Abstraction, an exhibition of works by Sadie Benning, Pierrette Block, Angela Bulloch, Philippe Decrauzat, Franklin Evans, Pierre Ferrarini, Ceal Floyer, Bernard Frize, David Hominal, Steven Hull, Renée Levi, and François Morellet from the collection of Claudine and Jean-Marc Salomon.
The exhibition opens on 30 October and will be on view through 14 December 2014.
Any combining, mixing, adding, diluting, exploiting, vulgarizing or popularizing of abstract art deprives art of its essence and depraves the artist's artistic consciousness. Art is free, but it is not a free-for-all. The one struggle in art is the struggle of artists against artists, of artist against artist, of the artist-as-artist within and against the artist-as-man, -animal or -vegetable. Artists who claim their artwork comes from nature, life, reality, earth or heaven, as “mirrors of the soul” or “reflections of conditions” or “instruments of the universe,” who cook up “new images of man”—figures and “nature-in-abstraction”—pictures, are subjectively and objectively, rascals or rustics. -Donald Judd, American Dialog, Vol. 1-5
Donald Judd was an exquisite contrarian. Call him a minimalist and he’d say, no, he wasn’t. To be fair, the term itself was widely rejected by artists working at this narrow-end of the artistic spectrum, and so it was only natural that what started out as an explanation of the work, became the rules that governed both its wider understanding and presentation. Looking back, what’s become clear is that the dialogues that emerged from this era were as intrinsic to the work (from the artist’s perspective) as the work itself. In part, it was the apparatus of distinction—the breaking with old ideas that felt stale and over-used. It was a carving down to the essential nature of an object that interested Judd, but it required sensitivity to some rules-based order.
From 25 October to 30 November, the MAC exhibits the works of the finalists of the 2014 LISSONE PRIZE, an international competition for young artists under 35.
Among the practices that characterize the most current developments in painting has been inserted the "Expanded Painting," novelty item that distinguishes this year's edition. For the first time it was set up a Selection Committee which will complement the official jury in assigning the Grand Prize for painting, the Critics Award and many other awards purchase. In addition to the exhibition of selected, the newly renovated exhibition formula also includes two sections by invitation, at a national and international level, which is not eligible for prizes in money. Finally, a room will be reserved for an important teacher of the last century, as well as they used to in the sixties, with retrospective exhibitions devoted to Atanasio Soldati, Licini Osvaldo and Mario Sironi.
Franklin Evans, “paintingassupermodel,” at Ameringer | McEnery | Yohe through August 1
Understated and subtle are two adjectives that will never be applied to Evans’s work. For his debut at this gallery, he cannibalizes the entire space — including the floors — creating a massively dense, referential installation that’s terrifically entertaining to get lost within. Paint-spattered tape, computer print-outs, enlarged-and-stretched digital photos, and architectural schematics cover the walls; Plexi vitrines hold photographs and tiny sculptural odds-and-ends.
Daily Pic: Franklin Evans Shows Us Painting Today
This is a view into a manic installation called “paintingassupermodel,” by Franklin Evans. It’s now filling the Ameringer McEnery Yohe gallery in New York. The title is a clever updating of “Painting as Model,” the name of a famous 1993 book by art historian Yve-Alain Bois, sped up to the pace of the 21st century. There’s not even time for a break between words.
Evan’s installation does a pretty good job conjuring the feel of art as it is now experienced, as a ceaseless barrage of image and information and commerce that we’re supposed to take as-is, without too much processing or doubt. “Paintingassupermodel” levels the playing field between Matisse and Photoshop. What I couldn’t decide, as I took in the piece, was whether its frantic complexities acted as an invitation to dig deep to figure them out, or to skim along across their surfaces.
Yve-Alain Bois’s book Painting as Model was written twenty-odd years ago and continues to be an important text, providing conceptual fodder for many contemporary art practices. A case in point is the current exhibition of painting and installation by the artist Franklin Evans where a physical copy of Painting as Modelsits up front and center on the gallery floor while material unleashed from the book orbits about the space.
James Kalm visits the exhibition Franklin Evans: paintingassupermodel at Ameringer | McEnery | Yohe, New York, on view through 1 August 2014.
Kalm notes: "Franklin Evans has been receiving much critical attention for his blurring of painting, the studio and installation. Using the rubbish of his studio practice, particularly used masking tape and paint stained cloths, the artist fills the gallery top to bottom with colorful remnants, wall paintings and enlarged photos from previous installations, thereby presenting these projects as accumulations not only of materials, but also of memories.
Timepaths, a process-based multi-media installation by Reno-born artist Franklin Evans, served as the inspiration and the backdrop for RENO Magazine’s spring fashion spread. The installation, housed at the Nevada Museum of Art through April 20, investigates the complex paths Evans has taken as a contemporary artist.
Nearly 50 visits in and I finally made it across the river to draw, spending the day with Franklin Evans in his studio in the Lower East Side a couple of Saturdays ago. After making my way down Bowery, I looked up to see short neon strips of tape and painted pieces of paper that were missing their center squares, dangling from the inside of windows of a second floor apartment building. I knew I was in the right place. I had the overwhelming feeling of having been in this studio before when I walked in to his space. I soon realized I was thinking back to the strong impression his elaborate mixed-media exhibition at Sue Scott Gallery had on me in the spring of 2012. It was a memorable glimpse into the artist's mind, studio, and process. Evans was breaking the fourth wall with that exhibition and remembering it made me even more eager to begin my drawing.
Material Images” brings together 10 artists whose practices encompass a diverse range of formal and procedural strategies. Tying them together are their concerns with abstraction and issues of materialization surrounding the status of images today.
Kari Altmann, Trudy Benson, Petra Cortright, Franklin Evans, Lauren Luloff, Michael Manning, Jessica Sanders, Kate Steciw, Rebecca Ward and Jeff Zilm
In a series of conversations held over the past summer months and into a fall museum installation, artist Franklin Evans spoke with artist and Art Books in Review editor Greg Lindquist. The two discussed the relationships of Evans’s process-based painting installations to Internet media, digital technologies, and the related phenomena of discontinuous focus. Evans’s solo exhibition timepaths opened at the Nevada Museum of Art on October 5, 2013 and will remain on view until April 20, 2014.
timepaths is a process-based, multi-media installation by Reno-born artist Franklin Evans that investigates the complex paths he’s taken as a contemporary artist. Now living in New York and showing in galleries internationally, Evans first started painting at Stanford University as an undergraduate in 1987. At that time university art programs tended to maintain distinct boundaries between various media. Evans, however, sought a more complex visual language and began to explore the dissolution of distinct media through collaborations with choreographers, writers, and curators. His resulting installations take on the appearance of labyrinthine studio spaces where materials from diverse times and places in his life provide context and are given equal attention.