Amy Bennett's Delivery (2019) is on view at the Museum of Fine Art Boston through 2025.
As part of Staatliche Kunsthalle Karlsruhe's collection, Pia Fries's work is on view at the ZKM Center for Art and Media in Karlsruhe, Germany.
Liz Nielsen is on view in Sense of Place at the Strohl Art Center at the Chautauqua Institution.
Whitney Bedford is on view at the Santa Barbara Museum of Art as part of the exhibition Inside/Outside.
Rico Gatson: Visible Time is now on view at the USF Contemporary Art Museum.
Bo Bartlett's exhibition Earthly Matters travels to MOCA Jacksonville, on view 26 May through 10 September.
Cirque De La Vie, an exhibition of works by Bo Bartlett, is on view at the Lyme Academy of Fine Arts.
Pia Fries' work is exhibited in The Adventure of Abstraction at the Sprengel Museum Hannover.
Shannon Finley's solo exhibition Aftermathematics at Mies van der Rohe Haus is reviewed by Ingeborg Ruthe in Berliner Zeitung.
Shannon Finley's solo exhibition Aftermathematics at the Mies van der Rohe in Berlin is on view 16 April through 25 June 2023.
Rico Gatson’s Untitled (Triple Consciousness) (2022) is on view as part of The Social Justice Billboard Project at George Floyd Square in Minneapolis.
Inka Essenhigh is included in the exhibition Rounding the Circle: The Mary and Al Shands Collection, on view at the Speed Art Museum through 6 August.
Pia Fries is included in the exhibition Print is a Battlefield at Museo Villa dei Cedri.
Pia Fries exhibition durch sieben siebe is on view through August 2023 at Lido Malkasten, Künstlerverein Malkasten.
Erin Lawlor's painting Majestic Mickey (2016) is on view in the exhibition The Cabin LA Presents: A Curated Flashback at the Green Family Art Foundation.
Earthly Matters is on view at the Bo Bartlett Center through 28 April 2023.
Douglas Melini's The Forms of Thought (2010) is on view in the exhibition Triangles within a Square: Art and Mathematics at the Tang Teaching Museum.
Jacob Hashimoto's site-specific installation, The Fractured Giant, is on view at the Boise Art Museum through January 2024.
James Siena is included in the exhibition, The Searchers, presented by the Philadelphia Art Alliance at University of the Arts, now on view.
Rico Gatson is included in Poor People’s Art: A (Short) Visual History of Poverty in the United States, now on view at the USF Contemporary Art Museum.
Invincible Summer, a solo exhibition of paintings by Erin Lawlor, is on view through 19 March at the Wellington Arch Museum in collaboration with Vigo Gallery.
Jaocb Hashimoto's installation This Particle of Dust is on view through December 2023 at the Tampa Museum of Art.
Jacob Hashimoto: Fractured Giants is on view through 21 January 2024 at the Boise Art Museum.
Brian Alfred's work is featured in the exhibition City, Country, Connectivity at the Kunst für Angeln e.V.
Rico Gatson is included in the exhibition Color Code at the McEvoy Foundation for the Arts.
David Allan Peters is included in the group exhibition Hybrid Spaces at Borusan Contemporary in Istanbul, Turkey.
Elliott Green is included in Symbiosis, a group exhibition curated by Beth Rudin DeWoody, at the Berkshire Botanical Garden.
Bo Bartlett: Earthly Matters is now on view at The Gibbes Museum of Art in Charleston, SC.
Lisa Corinne Davis' work is included in the exhibition Given Time at the Milton Resnick and Pat Passlof Fountation.
The Parrish Art Museum opens an exhibition featuring the work of Esteban Vicente in conversation with paintings by Joaquín Sorolla.
Rico Gatson is the second artist to create murals for the Birmingham Museum of Art's Wall to Wall installation series.
Forcefield, a large-scale, site-specific installlation, is on view at Newburgh's Dutch Reformed Church from sunset to midnight every night through 30 September 2022.
Tomory Dodge is included in Abstract Los Angeles: Four Generations at the Brand Library & Art Center through 2 September.
Rico Gatson's "Untited (Flag IIII) is included in the exhibition Light Play at the Birmingham Museum of Art.
The Lyrical Moment, an exhibition of works by Heather Gwen Martin and Helen Frankenthaler, is on view at the USF Contemporary Art Museum through 30 July 2022.
Lisa Corinne Davis, alongside Shirley Kaneda, is featured in the exhibition DUAL at the New York Studio School through 17 July.
Rico Gatson is included in the show "The Artist's Eye" at the UC Berkeley Art Museum and Film Archive.
FLAMINGLOVEANDDESTINY, a site-specific installation by Markus Linnenbrink, is on view at Fundación DIDAC through 11 September 2022.
Inka Essenhigh is included in The View from Here at the Center for Maine Contemporary Art.
Franklin Evans site-specific installation is included in the exhibition What a Wonderful World at Museo MAXXI.
Beverly Fishman's solo exhibition "CURE" is on view at The Dayton Contemporary through 22 July 2022.
Inka Essenhigh and April Gornik are included in the exhibition "Empire of Water" at The Church in Sag Harbor, NY.
Pia Fries is included in the exhibition Nord — Süd at Kunst Museum Winterthur
Beverly Fishman's solo exhibition "Recovery" is on view through 7 August 2022 at the MSU Broad Museum.
Portsmouth, NH—The Museum of New Art-Portsmouth (MONA) is proud to announce its inaugural exhibition, THEREARESPACESTHATBREATHE by Markus Linnenbrink. The exhibition includes a full room site-specific installation inspired by the architectural spaces of the Museum of New Art, sculptures, paintings, works on paper and ceramics. This exhibition will be a survey presentation of the artist’s oeuvre.
Rico Gatson's work Bird, 2015 is included in the exhibition "Black American Portraits" on view at the Los Angeles County Museum of Art through 17 April 2022.
The Berkeley Art Museum and Pacific Film Archive is pleased to present "New Time: Art and Feminisms in the 21st Century," a group exhibition featuring Inka Essenhigh and seventy-six artists and collectives.
"The exhibition is organized around eight themes: hysteria; the gaze; revisiting historical subjects through a feminist lens; the fragmented female body; gender fluidity; labor, domesticity, and activism; female anger; and feminist utopias."
The exhibition will remain on view until 30 January 2022.
Patrick Wilson's work The Poetry of Construction is included in the exhibition "Break + Bleed" at the San José Museum of Art, on view through 3 April 2022.
The American Academy of Arts and Letters announced today the ten artists who will receive its 2020 Awards in Art, including Amy Bennett.
Paintings, sculptures, video, photographs, and works on paper by 28 contemporary artists will be exhibited in the galleries of the American Academy of Arts and Letters on historic Audubon Terrace (Broadway between 155 and 156 Streets) from Thursday, March 5 through Sunday, April 5, 2020. Exhibiting artists were chosen from over 150 nominees submitted by the members of the Academy, America’s most prestigious honorary society of architects, artists, composers, and writers. The recipients of the Academy’s 2020 Art and Purchase Awards will be selected from this exhibition.
Jim Isermann. Copy. Pattern. Repeat is on view at the Palm Springs Art Museum Architecture and Design Center, Edwards Harris Pavilion.
As part of the Murals of La Jolla Project, Monique van Genderen's mural, titled Paintings Are People Too, is currently up at 7661 Girard Ave, La Jolla, California.
Paintings Are People Too, by Monique van Genderen, is a reconsideration of humanity, of what it means to be human in the social climate of today. By utilizing her vertical paintings as stand-ins for people, van Genderen reflects on some of the pressing issues facing our citizenry, the de-humanizing effects of new communication technologies, and the physical displacements happening in urban centers.
Inka Essenhigh’s painted visions are richly colored distorted fables peopled with archetypes, sprites, and anthropomorphized nature. The paintings breathe and undulate with life as ocean becomes sea monster, tree becomes goddess, or hipster bar-goers become drunken ghouls. The imagery is imbued with a sense of a collective unconscious and mischievous narrative that makes its way into each landscape, building, and figure. As she describes it, her mythologies strive for “the feeling of an inner vision” captured during the witching twilight hours.
Contemporary Art Galleries at the University of Connecticut is pleased to present a group exhibition featuring works by Beverly Fishman, Marilyn Lerner, Paul Pagk, Joanna Pousette-Dart, and Cary Smith.
A Panel Discussion will take place on 17 October at 5:00pm, followed by an Opening Reception at 6:30pm.
David Allan Peters creates work that explodes with countless layers of color and intricate texture, combining painting with sculptural hand-carved qualities. Diamonds, grids and circles create kaleidoscopic compositions that vibrantly explore geometry, intuition and chance. He has become known for his innovative process of building up material which is then peeled and cut away exposing what is below the initial surface, unveiling various colors at different depths. Peters sometimes works for 15 years on a single painting, painstakingly applying layer upon layer of acrylic paint and then cutting, scraping, sanding and carving into the layers to show the passage of time similar to the rings of a tree trunk. From the by-products of his paintings, Peters recycles the carved-out remnants into bricks forming minimalist installations. He pushes the limits of acrylic paint and the traditional painting processes, while dissolving the boundary between the second and third dimension.
Carefully defined expanses of color and precisely calculated lines—the characteristic elements of geometric abstractions are often defined as rational, measured, and simple. Indeed, one can describe these artworks with a common vocabulary of shapes, colors, and sizes. Their meaning, however, is rarely so singular or straightforward. As painter Jo Baer noted, the challenge in making such work is to create “poetic objects” that are “discrete yet coherent, legible yet dense.” She called these efforts “double-dealing, double-edged.”
Min adapts the vibrant abstract imagery of her paintings on canvas to the steps of the Hammer’s lobby staircase, in the first Hammer Project to be oriented on the floor rather than the walls.
“Nuclear Family,” an exhibit of new work by Amy Bennett on view at the Brattleboro Museum & Art Center (BMAC) through June 16, features small paintings that tackle large topics, including marriage, child rearing, and female identity.
The Bertha and Karl Leubsdorf Gallery at Hunter College is pleased to present:
Hans Hofmann: "The California Exhibitions, 1931"
28 February – 5 May 2019
The UC Berkeley Art Museum and Pacific Film Archive is pleased to present:
Hans Hofmann: The Nature of Abstraction
27 February – 21 July 2019
Nassau County Museum of Art is pleased to present group exhibition That 80s Show, curated by Eric Fischl.
Opening Saturday, 16 March, 2019.
Featuring works by Fischl, April Gornik, Julian Schnabel, David Salle, Ross Bleckner, Bryan Hunt, Jean-Michel Basquiat, Keith Haring, Kenny Scharf, Cindy Sherman, Robert Longo, Jenny Holzer, Robert Mapplethorpe, Annette Lemieux, Charlie Clough, Tseng Kwong Chi, Jonathan Lasker and others.
NEW YORK, February 4, 2019—Paintings, sculptures, video, photographs, and works on paper by 32 contemporary artists will be exhibited in the galleries of the American Academy of Arts and Letters on historic Audubon Terrace (Broadway between 155 and 156 Streets) from Thursday, March 7 through Sunday, April 7, 2019. Exhibiting artists were chosen from over 130 nominees submitted by the members of the Academy, America’s most prestigious honorary society of architects, artists, composers, and writers. The recipients of the Academy’s 2019 Art and Purchase Awards will be selected from this exhibition.
56 HENRY is pleased to present "Notebook," an exhibition curated by Joanne Greenbaum. Comprised of over 70 works, ranging from lists and diagrams, to small drawings and torn out sketchbook pages, Notebook showcases an index of items culled from artists’ processes. The installation of works will be on display from February 9th through March 31st, 2019. Notebook is 56 HENRY’s first group exhibition, and second collaboration with Joanne Greenbaum.
The Bruce Museum is pleased to present:
Downsized: Small-Scale Sculpture by Contemporary Artists
3 November 2018 - 27 January 2019
An artists panel discussion will be held on Thursday 8 November from 6 – 8pm
The New York Studio School presents Known: Unknown, an exhibition that brings together power players of painting today and emerging creators of tomorrow. We invited a select group of prominent artists to participate in this exhibition, with an added twist—each invited artist chose one emerging or lesser known artist to also be included in the show.
Opening Reception: Thu, November 01, 2018, 6:00PM - 8:00PM
by Lukas Périer
In September of 2014 The Anderson Collection at Stanford University opened in a 30,000-square-foot-building designed by Ennead Architects, showcasing 121 works from 86 artists (among them, Willem de Kooning, Jackson Pollock, and Wayne Theibaud).
Brattleboro Museum & Art Center is pleased to present:
Emily Mason: To Another Place
5 October 2018 – 10 February 2019
Opening reception: Friday, 5 October at 5:30 pm
Artist Talk: Friday, 19 October at 7 pm
MCASD Downtown is pleased to present:
Being Here with You/ Estando aquí contigo
20 September 2018 – 03 February 2019
Kalamazoo Institute of Arts is pleased to present:
A Fine Line
15 September – 6 January 2019
Opening Reception: 27 September, 5:30 – 8:00pm
The UCI Institute and Museum for California Art is pleased to present:
First Glimpse: Introducing the Buck Collection
Curated by Kevin Appel, Cécile Whiting, and Stephen Barker.
September 29, 2018 – January 5, 2019
Opening Reception: 29 September, 2018 | 2:00 – 5:00 p.m.
Garrison Art Center is pleased to present:
COLOR COMPOSITIONS
15 September – 14 October 2018
Opening Reception: 15 September, 4 – 7 pm
Culver Center of the Arts is pleased to present:
Yunhee Min & Peter Tolkin: Red Carpet in C
18 August - 29 December 2018
Opening Reception: Saturday 29 September, 2018, 6 – 8pm
L.A. Louver is pleased to present:
EVOLVER
20 June – 17 August 2018
True Colors
Nothing in art is more powerful than color. From Monet and Matisse to Mark Rothko and Frank Stella, and onward to the huge Color Field canvases and pulsing neon sculptures of today, color as a means of expression is the keynote for this wildly exuberant show. Potent even to the point of being considered dangerous, it is the most exciting element of art, the strongest tool in the toolbox. “Color, above all, is a means of liberation,” Matisse declared.
The Nevada Museum of Art is pleased to present:
Manet to Maya Lin
9 June – 2 September, 2018
Abstract Room at Université de Strasbourg is pleased to present:
Abstraction & Architecture
10 – 20 October, 2018
Opening: Friday, 12 October, 5 – 8 pm
Join us for the first of four creative conversations led by Brian Alfred, host of the Sound & Vision Podcast. He will be joined by Japanese-born artist Hisham Akira Bharoocha. They’ll have an in-depth discussion about how music, art, and design work together to communicate feeling.
As part of its ongoing series of commissions for the Stairwell, The Drawing Center has asked New York artist Inka Essenhigh to create a site-specific wall drawing. Essenhigh’s installation will be the third in the series, following Gary Simmons’s Ghost Reels (2016–18) and Abdelkader Benchamma’s Dark Matter (2015–16).
The Virginia Museum of Contemporary Art (MOCA) celebrates the opening of Inka Essenhigh: A Fine Line. Essenhigh gained national attention in the late 1990’s and is known for her experiments with enamel paint, traditional oils, and printmaking. Inspired by time spent in New York City and Maine, Essenhigh developed her signature use of line by practicing automatic drawing. Fantastical images of the everyday, both urban and rural, distinguish her work.
Artist Inka Essenhigh spent the early years of her career thinking that her fluid, feminine paintings were a no-no.
As she painted graceful fairies, ghosts and woodland creatures that played in colorful, mystical universes, her art friends called them lightweight and kitschy.
But the work felt right, so the New York-based artist kept creating.
Through her painting, Inka Essenhigh provides an authentic voice. Since her emergence into the art world during the late 1990’s, she has created a path for herself that consistently questions and redefines her relationship with her media. She has moved from using enamel paint to traditional oils and back; creating hybrids of the two. Her substrates have included paper, canvas, and panels. Throughout each phase of experimentation, she created dialogues with her work, navigating how the media and brush interact, sometimes with genuine surprise at the result.
The Painting Center presents Cultivate Your Own Garden, an exhibition of twelve contemporary artists: Cecile Chong, Elisabeth Condon, Daniel Dallmann, Carlo D’Anselmi, Lois Dodd, Ashley Garrett, Xico Greenwald, Eric Holzman, Wolf Kahn, Judith Linhares, Carol March and Ruth Miller on view through March 24th.
The title for the show comes from the Voltaire novel Candide (1759) and refers to the idea of taking care of one’s own needs before taking care of others’. The idea of connecting to nature despite the cacophony of the world around us seems apt at this moment in history. Curators Patricia Spergel and Shazzi Thomas selected artists for this exhibition who reference garden and landscape in their work in a variety of ways – traditional observational painting, works with subtle satirical and political commentary and paintings that lean towards abstraction. What all these paintings have in common is a love for nature and paint, and a clear, focused approach to transmitting that passion.
Over the course of his career, Tomory Dodge has become known for dynamic paintings that explore the representation and mechanics of picture-making. Thanks to mass media and modern technology, images today are on every conceivable surface and confront us at every moment. Painting, one of the oldest means of expression, remains a vital key to understanding the nature of images in modern life, whether they are experienced in the physical world, on our devices, or on-line.
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.
Pia Fries: Proteus und Polymorphia, featuring the work of the artist in conversation with Hendrick Goltzius etchings, is on view at the Museum Kurhaus Kleve.
The National Museum of History and Art dedicates for the first time in Luxembourg an exhibition to one of the main representatives of American Abstract Expressionism.
Hans Hofmann is one of the most important 20th century American modernist artists and art teachers. Born in 1880 in Weißenburg, Bavaria, Hofmann died in the United States in 1966. In his oeuvre, he combines the traditions of European modernist painting with influences from American postwar art.
Creation in Form and Color: Hans Hofmann is organized by University of California, Berkeley Art Museum and Pacific Film Archive, in collaboration with the Kunsthalle Bielefeld and the National Museum for History and Art Luxemburg.
OCMA has always championed artistic experimentation and innovation through a commitment to showing and collecting the work of dynamic and groundbreaking emerging artists. This installation will reveal how impactful OCMA has been in supporting the careers of some of the most influential artists from this region, often at pivotal moments in their careers.
Artists include: Nicolas Carone, Paul Georges, Philip Guston, Hans Hofmann, Mercedes Matter, George McNeil, Ruth Miller, Alice Neel, Chuck O'Connor, Philip Pearlstein, Vita Petersen, Milton Resnick
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.
The FLAG Art Foundation presents The Times from June 1 – August 11, 2017, on its 9th floor gallery. The exhibition uses The New York Times as its point of departure and features over 80 artists, artist duos, and collectives who use the “paper of record” to address and reframe issues that impact our everyday lives.
Reading The New York Times is embedded in many people’s daily routines. This chronicle of geopolitical and local issues, tragedies, human interest stories, and trends in culture, serves as both a source of inspiration and medium for artists to assert their perspectives on the state of the world. In the wake of the 2016 presidential election, where news media was deemed the “the enemy of the people,” and The New York Times directly attacked and labeled as “fake news,” FLAG began developing an exhibition examining how seminal artists, such as Robert Gober, Ellsworth Kelly, Lorraine O’Grady, Fred Tomaselli, and others, who have used and been inspired by this newspaper in their practice. To give voice to a larger community, FLAG put out an open call for artist submissions that received 400+ proposals from around the world, and accounts for over half of the artists featured in the exhibition.
Opening reception: Saturday 29 July, 5-8pm
The paintings in this exhibition, SITE/SIGHT, are rooted in direct observation and are influenced by each artist’s perceptual practice and long-cultivated process of close study. Falling along a continuum between abstraction and representation they evoke a strong sense of place in the everyday world. Although we may not recognize the specific motif inferred (landscape, night sky, city, etc.) the authority of perception is tangible.
Sites, subjects, and methods of observation are critical to each artist’s visual language: planted fields, elevations seen from an airplane window, gradations of color in a sky reflected on a watery plane, shapes glanced at through apertures between buildings, or the puzzle of shapes in a tapestry-like world are some of the inspirations for the paintings shown here. Often the focus is upon a fragment of a larger subject or on an aspect removed from its larger context, adding an interesting ambiguity to the work.
Suzanne Caporael, Martha Diamond, Sharon Horvath, Jacqueline Gourevitch, Ellen Kozak, and Joyce Robins are painters in whose work abstraction conveys the resonance of close observation and place.
David Allan Peters : Sheathes
Film by Eric Minh Swenson
by Hind Berji
At first glance, Bo Bartlett‘s work doesn’t look like anything new. His large canvases are filled with the crisp realism of Edward Hopper, the small-town iconography of Norman Rockwell, and the vibrancy and luminism of George Caleb Bingham. Yet, Bartlett brings it all together to portray a fresh and complicated take on American life as he knows it. Organized by the Mennello Museum of American Art with an extension of four paintings at The Orlando Museum of Art, Bo Bartlett: American Artist features the seductive quality of oil paintings, which stems partly from his large canvases and polished aesthetic. His paintings are subdued with a warm light that looks like the most natural thing in the world—a fleeting, bittersweet, transitional light that falls on his characters.
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.
By Matthew J. Palm
Waves crash. The skeleton of a huge ship rises through scaffolding. Fishermen haul in their catch. Shoreline plants take on a delicate purple hue.
These are images of Maine, and the Pine Tree State is at center stage in the latest exhibition at Orlando Museum of Art.
The Wyeths and American Artists in Maine” will be on view through April 23. It’s a chance to see works by three generations of the famed Wyeth family of artists — N.C., Andrew and Jamie — as well as others. The exhibit is also a chance to reflect, or learn about, the significance of that northern neck of the woods to the visual arts.
by Charlie Patton
Though he is considered one of the pioneers of abstract expressionism, during his long career the German-born painter-turned-U.S. citizen Hans Hofmann embraced many styles.
Born in 1880, he was first drawn to Impressionism. He then spent time in Paris in the early 1900s where he befriended Pablo Picasso, Georges Braque and Henri Matisse and embraced such movements as Cubism and Fauvism.
You can’t characterize him with one individual style,” said the Museum of Contemporary Art Jacksonville’s curator Jaime DeSimone. “He reinvented himself time and time again.”
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.
When a call went out online recently for an art world protest strike — “no work, no school, no business” — on Inauguration Day, more than 200 artists, most based in New York, many well known, quickly signed on. In numbers, they represent a mere fraction of the present art world, and there was reason to expect the list would grow. By contrast, in New York in the 1950s, 200 artists pretty much were that world, and one divided into several barely tangent circles.
That era’s cultural geometry has been badly in need of study, and now it’s getting some in a labor-of-love exhibition called “Inventing Downtown: Artist-Run Galleries in New York City, 1952-1965,” at the Grey Art Gallery at New York University. With nearly 230 objects, it’s big and has its share of stars. But it’s not a masterpiece display. It’s something almost better: a view of typical — rather than outstanding — art, of familiar artists looking unfamiliar, and of strangers you’re glad to meet. It looks the way history looks before the various MoMAs get their sanitizing hands on it: funky, diverse, down to earth, with things to teach us now.
Royale Projects is proud to present a solo exhibition of new works by Los Angeles artist David Allan Peters from 22 January to 31 March 2017. There will be an open house from 12 to 5 pm on Sunday, 22 January 2017.
The exhibition presents large-scale oil paintings that are figurative, psychologically imbued, beautifully rendered, and wonderfully sublime by one of the most significant Realist painters of his generation. Bo Bartlett is an American realist with a modernist vision whose multi-layered narrative work falls within the tradition of American realism as defined by artists such as Thomas Eakins and Winslow Homer to Edward Hopper and Andrew Wyeth. Like these artists, Bartlett looks at America's land and people to describe the beauty he finds in everyday life. His paintings celebrate the underlying epic nature of the commonplace and the personal significance of the extraordinary. Of Bartlett’s work, Wyeth wrote, “Bo Bartlett is very American. He is fresh, he’s gifted, and he’s what we need in this country. Bo is one of the very few I feel this strongly about.”
Examining the New York art scene during the fertile years between the apex of Abstract Expressionism and the rise of Pop Art and Minimalism, Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965 is the first show ever to survey this vital period from the vantage point of its artist-run galleries—crucibles of experimentation and innovation that radically changed the art world. With more than 200 paintings, sculptures, installations, drawings, photographs, ephemera, and films, the show reveals a scene that was much more diverse than has previously been acknowledged, with women and artists of color playing major roles. It features works by abstract and figurative painters and sculptors, as well as pioneers of installation and performance art. Artists range from well-known figures such as Jim Dine, Red Grooms, Allan Kaprow, Alex Katz, Yayoi Kusama, Claes Oldenburg, Yoko Ono, and Mark di Suvero, to those who deserve to be better known, including Emilio Cruz, Lois Dodd, Rosalyn Drexler, Sally Hazelet Drummond, Jean Follett, Lester Johnson, Boris Lurie, Jan Müller, and Aldo Tambellini.
Inventing Downtown is curated by Melissa Rachleff, clinical associate professor in NYU’s Steinhardt School.
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).
by Roger Catlin
Gene Davis spent his career in newsrooms from the Washington Daily News to United Press International to the Fredericksburg Freelance Star, and even served a stint as a New York Times copy boy.
And while he took up abstract painting in the 1940s as a hobby, and was featured in a few local shows, he was never successful enough to devote his full time to art until, after 35 years in journalism, he finally turned to it 1968.
Brightly colored stripes multiply in rhythmic repetitions across the surface of a painting by Gene Davis. Remarkably original when they first appeared in the 1960s, these paintings became the signature expression for one of the leading Color Field painters. With no more than a rectangular canvas and multicolor stripes, Davis created a richly varied body of work that looks as fresh today as it did when it first was shown. The large size of most of his canvases from the 1960s requires a viewer to consider the relationships and rhythms over time, more like a musical composition than the dynamic, colorful, pop art images that emerged at the same time.
The exhibition Creation in Form and Color: Hans Hofmann is a collaborative project by the Berkeley Art Museum, the Pacific Film Archive at the University of California (BAMPFA), and the Kunsthalle Bielefeld. It is based on a precise selection of approximately 60 paintings, watercolors, and drawings that span the artist’s entire career from the 1920s to the early 1960s. The show includes works on loan from the Berkeley Art Museum, as well as from prominent American and European museums and private collections. One of the exhibit’s particular goals is to examine Hans Hofmann before the backdrop of his European tradition in his role as an important artist and teacher of 20th century American modernism. Additionally, the show weighs his exploration of his experiences and influences in his chosen homeland of America, while simultaneously emphasizing his theories and work, which made him an especially significant artistic mediator between the continents. Despite his fundamental importance to the development of modern art in America—where prominent exhibitions were devoted to him during his lifetime—Hofmann remains less well known in Germany and Europe as a member of the Modernist avant-garde.
Pia Fries: Weisswirt and Maserzug is on view through 5 March 2017 at the Kopfermann-Fuhrmann-Stiftung Museum.
by Cate McQuaid
We know painter Wolf Kahn for radiant colors and landscapes that are more about formal and tonal relationships than they are about place. But in the 1960s, Kahn dwelt in the shadows. His paintings from that period make up the last exhibition at modernist gallery ACME Fine Art, closing its doors after 15 years. Owners Jim Bennette and David Cowan will continue their art-consulting business.
Markus Linnenbrink to install a 7 x 90 foot epoxy resin painting in the Concourse Lobby of 75 Rockefeller Plaza in New York, New York in early 2017.
EDDYSROOM is pleased to announce the opening of its eleventh show: Room With A View. Room With A View is a group show of landscape/nature-themed works. We are excited to include the works of Erik Parker, Hein Koh, Shara Hughes, Cody Hudson, Kevin McNamee-Tweed, Hilary Baldwin, and Brian Alfred in the exhibition.
Hans Hofmann’s famous phrase “push and pull” is most often associated with his signature works of the 1950s and 1960s, in which bold color planes emerge from and recede into energetic surfaces of intersecting and overlapping shapes. The ideas and impulses behind this enduring term, however, took shape decades earlier, in his teachings, writings, and in his own paintings. In the late 1930s, in a series of widely attended lectures in Greenwich Village, Hofmann demonstrated how to “push a plane in the surface or to pull it from the surface” to create pictorial space. “We must create pictorial space,” he declared to audiences of avid young artists and critics, including Arshile Gorky, Clement Greenberg, and Harold Rosenberg. Hofmann would later refine his definition of push and pull as “expanding and contracting forces...the picture plane reacts automatically in the opposite direction to the stimulus received; thus action continues as long as it receives stimulus in the creative process. Push answers with pull and pull with push.”
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.
WORKSHOP: 9am to 4pm, 14 Oct. – 16 Oct. 2016 PUBLIC PRESENTATION: Thursday, 13 Oct. 2016, 7pm EXHIBITION: 24 Sep. – 30 Dec. 2016
Drawing Realism"
During this workshop, Patrick Lee will share the specific techniques he uses to achieve a photorealistic look in the portraits he creates. He will teach other artists who are looking to accurately capture an individual or an object how to use pencil (graphite). Lee will explain his process, from approaching individuals on the street and photographing them to editing images and choosing what will hopefully be a compelling composition. In addition he will tell the stories behind his drawings in the gallery and help participants focus on how to pick subjects to draw. Drawings will be based on photographs the participants provide and will take shape over the three days of the workshop.
by Danielle Tcholakian
SOHO — Vesuvio Playground will double as an art gallery for the month of October, featuring a mural project by downtown-based artist Isca Greenfield-Sanders — and the help of more than 200 local kids.
The installation, entitled "Playground Parachutes," includes four large-scale murals that Greenfield-Sanders gridded into 72 square tiles printed in four basic colors: blue, pink, yellow and black.
Teaching artists at the Children's Music of the Arts (CMA) in Hudson Square took the tiles and helped more than 200 children fill them in with colored pencils, before returning them to Greenfield-Sanders so she could reassemble into four parachute images.
ACME Fine Art is proud to announce the gallery’s Fall exhibition: WOLF KAHN: EARLY WORK. The exhibition will focus on a single decade of Kahn’s early career, the 1960s. This was an important decade in which Kahn’s work garnered the critical acclaim that helped establish his trajectory towards becoming one of America’s favorite contemporary landscape painters. The exhibition will feature fifteen works—fourteen oil paintings and one pastel—that demonstrate Kahn’s artistic arc during this pivotal decade. Many of the canvases have not been exhibited since the year that they were created. The show will open on Friday, 30 September, and run through 26 November, with an opening reception held Friday, 7 October from 6:00 to 8:00 in the evening.
Green Below 14 and SmartSpaces present Isca Greenfield-Sanders’ Playground Parachutes, in partnership with the Children’s Museum of the Arts (“CMA”) and NYC Parks, opening at 10:30 a.m. on October 1, 2016 at Vesuvio Playground in SoHo (corner of Spring and Thompson Streets).
By Nina Azzarello
artist markus linnenbrink has installed a vibrant 40,000 square foot mural across the façade of miami‘s soon-to-be completed SLS brickell hotel and residences. best known for his signature ‘drip painting’ technique, linnenbrink has enlivened downtown’s monochromatic urban area with a colossal, chromatic landscape. commissioned by jorge m. pérez with the goal of giving the district a burst of color, the installation wraps the exterior of the architecture and sees vibrant stripes span from ground floor, to the building’s uppermost levels.
The Delaware Art Museum is pleased to present Truth & Vision: 21st Century Realism. On view October 22, 2016 – January 22, 2017, this exhibition surveys the state of representational painting at the beginning of the 21st century and features approximately 40 works by 20 contemporary realist artists from throughout the United States and Canada.
By Vanessa Borge
MIAMI (CBSMiami) – It’s about a bold burst of color in Brickell!
World famous artist Markus Linnenbrink is working on his largest mural ever in Brickell’s South Miami Avenue.
Presented by the New York Academy of Art, “WATER|BODIES” is co-curated by artist Eric Fischl and Academy President David Kratz. Generously sponsored by Cadogan Tate, “WATER|BODIES” presents paintings, photographs and sculptures by established and emerging artists with connections to both the East End and the New York Academy of Art. Life on the South Fork of Long Island is based on and intrinsically connected to the water, and this show explores water, bodies and the inevitable meeting of the two. The works in this exhibition depict the sea, the shore, the pool, sunbathers and the nude as a lively and expressive genre that interweaves themes of natural beauty and the nature of pleasure.
Over 30 artists are featured in the show, with works from newly minted Academy MFAs hanging alongside pieces by artists such as Ross Bleckner, Patrick Demarchelier, Eric Fischl, Ralph Gibson, Isca Greenfield-Sanders, April Gornik, Michael Halsband, Enoc Perez, and David Salle.
In cooperation with the University of California Berkeley Art Museum and Pacific Film Archive, Kunsthalle Bielefeld will present the exhibition Creation in Form and Color, dealing with the work of the German-born painter, Hans Hofmann. The exhibition opens at Kunsthalle Bielefeld on 5 Novemer 2016 and remains on view through 26 February 2017. It will travel to the Musee National d'histoire et d'art - Luxembourg and be on view from 28 September 2017 through 14 January 2018. A third venue for the exhibition will be announced.
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.
By Asif Khan
You may have admired contemporary art on solid ground, but have you ever done that on a moving train?
Art lovers will now have the opportunity of doing exactly that.
Japan’s Genbi Shinkansen, a “contemporary art bullet train,” has hit the rails today in all its “artful” glory.
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.
Brian Alfred's City Sunrise, 2004, will be on exhibition in the Denver Art Museum's reinstallation of the Modern & Contemporary galleries. Audacious: Contemporary Artists Speak Out officially opens to the public February 21, 2016 and will be on view through February 2017.
Opening Reception: Wednesday, December 16, 2015 6:30–8:30pm
Equitable Vitrines is pleased to announce a new exhibition by Los Angeles based artist Yunhee Min in its namesake headquarters, two vitrines in the lobby of Koreatown’s Equitable Life Building.
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.
You could say that L.A. artist David Allan Peters has an affinity for rules — though it's hardly apparent when first viewing his work.
Monique van Genderen to partipate in four artist show, Stray Edge, at Guggenheim Gallery, Chapman University.
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.
Walls of Color: The Murals of Hans Hofmann opens October 10, 2015 and will headline the museum's Art Basel season, on view through January 3, 2016. The exhibition focuses on the artist's public mural projects, and also includes several key later paintings. It features nine oil studies (each seven feet tall) for the redesign of the Peruvian city of Chimbote (Hofmann's visionary collaboration in 1950 with Catalan architect Jose Luis Sert that was never realized).
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.
In a unique survey exhibition that SCHAUWERK Sindelfingen shows exclusively works by artists from the collection Schaufler. More than 30 well-known women of contemporary art, including Sylvie Fleury, Isa Genzken, Katharina Grosse, Roni Horn, Barbara Kruger, Sherrie Levine, Jessica Stockholder and Rosemarie Trockel, are entitled LADIES FIRST! united. The approximately 100 works presented include photography, video, painting and installation. At the same time illustrate the different approaches, such as taking artists who sometimes still male-dominated art scene for themselves.
From 4 July to 27 September, at Hotel des Arts in Toulon, you can visit the exhibition VILLISSIMA. Des artistes et des villes which will exhibit some works by the artist Brian Alfred and Hema Upadhyay. The exhibition, curated by Guillaume Monsaingeon, becomes a point of reflection on how contemporary cities have evolved through contemporary art.
This exhibition brings together recently acquired works to the Barrick Museum and Las Vegas Art Museum collections. Many of the artists included in Recent Acquisitions have ties to the greater Las Vegas valley, helping to form the foundation of a heritage collection of works created in and inspired by the Southern Nevada region. As a cross section of the diverse practices pursued by contemporary artists this exhibition reaffirms the Barrick’s commitment to collecting art of the present. The vast majority of the works will be on display for the first time since entering the Museum’s collections.
Michael Reafsnyder's Floating is exhibited in "Paths and Edges: Celebrating the Five-Year Anniversary of the Escalette Collection" at the Guggenheim Gallery in conjunction with Chapman University. A catalogue accompanies the exhibition.
By Roberta Smith
GREENWICH, Conn. — You have to love Hans Hofmann for his exuberant late-blooming paintings, and for his eponymous art school, which formed one of the foundations of Abstract Expressionism. His paintings are, fittingly, usually seen as part of that heroic art movement, even though they replace its existential undercurrents with a stylistic capriciousness that sifts through European modernism with abandon.
Two works by Kevin Appel, House - South Rotation Red: 4 West and Houses and Timbers I, are included in a group exhibition, Endless House: Intersections of Art and Architecture, at MoMA from 27 June 2015 - 6 March 2016.
Wolf Kahn's River, 1983, is included in a group exhibition, AMPLIFIED ABSTRACTION, at El Paso Museum of Art.
July 2 at 8 pm NYC-Arts News on THIRTEEN will be hosted from the Bruce Museum in Greenwich, CT featuring "Walls of Color, the Murals of Hans Hoffman."
Broadcast encores as follows: Sunday, July 5 at 12 noon on THIRTEEN Friday, July 3 at 7pm and Sunday, July 5 at 3pm on WLIW Sunday, July 5 at 8:30 pm on NJTV
July 9 at 8 pm NYC-Arts News on THIRTEEN will be hosted from the Bruce Museum in Greenwich, CT featuring "Walls of Color, the Murals of Hans Hoffman."
Broadcast encores as follows: Sunday, July 12 at 12 noon on THIRTEEN Friday, July 10 at 7pm and Sunday, July 12 at 3pm on WLIW Sunday, July 12 at 8:30 pm on NJTV
Work by Franklin Evans is being presented at Mykonos Biennale.
I would like to let you know about a very special opportunity happening at the Bruce next week.
On Thursday evening, June 25, Dr. Mary McLeod, our final guest lecturer in the 2015 Bob and Pam Goergen Lecture Series, will present:
Hans Hofmann and José Luis Sert: An Experiment in Artistic Collaboration
ICASTICA 2015 Cultivating Culture 28 June–27 September 2015 Press preview: 27 June
By Ed Schad
It is worth pausing, at least for a moment, to think of the differences between Monique van Genderen’s four super-large paintings in the opening gallery of Susanne Vielmetter and the paintings of the era about which van Genderen is pointedly thinking: the broad and massively scaled canvases of Abstract Expressionism. Notably, the limitations of the studio set parameters of van Genderen’s paintings. The canvases are so large that she was forced to work on them both on the floor and on the wall, not knowing what they would look like when stretched and extended at Vielmetter.
Opening Saturday, 6 June 2015 from 6-9PM at Storefront Ten Eyck, 324 Ten Eyck Street, Brooklyn, NY 11206, during Bushwick Open Studio weekend.
Image: Franklin Evans, from1989houstonstreetstudioto2015, 2015, Mixed media installation
NEW YORK TIMES
By David W. Dunlap
GREENWICH, Conn. — There are several ways to appreciate the work ofHans Hofmann, an exuberant Abstract Expressionist who influenced generations of artists.
You could bid on a Hofmann at Christie’s. Just be sure to come with tens or hundreds of thousands of dollars. You could pick up a monograph, at no small cost. The Met has a number of Hofmanns on display, but the museum will suggest that you pay $25 to get in.
Alternately, you can take a stroll down West 49th Street in Manhattan, between Ninth and 10th Avenues, any day. Free.
There, along the ground-floor facade of the former High School of Printing, is a boldly scintillating 64-by-11½-foot mosaic mural designed by Mr. Hofmann and executed brilliantly in 1958 by L. Vincent Foscato of Long Island City, Queens.
New York’s treasury of public and semipublic artwork is so rich that it sometimes takes an out-of-town institution to remind us what we’ve got. In this case, it is the Bruce Museum in Greenwich, Conn., which has opened an exhibition called “Walls of Color: The Murals of Hans Hofmann,” curated by Professor Kenneth E. Silver of New York University.
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.
For Atelier Ace Issue, our series of limited edition art prints, we asked Brian Alfred, a multimedia artist originally from Steel City, USA, to envision an exclusive print for us and for you. With hard-edges, flat geometric forms and imagery borrowed from Circuit of the Americas in Travis County, Texas, Alfred uses speed, car racing and rituals of spectacle as avenues to explore contemporary ways of seeing.
A mind-blowing painting exhibit titled "Photorealism:The Sydney and Walda Besthoff Collection" opens to the public Saturday (Nov. 8) at the New Orleans Museum of Art. Unlike many contemporary shows, it's not an exhibit that proffers a social concept or psychological sub-text.
It's an exhibit that's about painting the skin of a tangerine so perfectly that you can almost smell the tangy scent. It's about capturing those psychedelic landscapes that you see mirrored in the curves of a polished motorcycle. It's about the everyday "Through the Looking Glass" reflections in shop windows that seem to defy space and perspective. It's about the subtle allure of fluorescent lights, saltshakers and pinballs. It's about obsessive realism that's so real it's positively weird.
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.
http://www.fondation-salomon.com/exposition-art-contemporain/abstraction-3110-14122014.html
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.
Helen Frankenthaler (American, 1928–2011) had her first solo exhibition at Tibor de Nagy Gallery in 1951, an exhibition that synthesized the most radical aspects of works by Arshile Gorky, Willem de Kooning, and Jackson Pollock, with ambitious canvases of textured surfaces, pale color, and calligraphic drawing. The following year, with Mountains and Sea, 1952, she created another kind of painterly space by staining unprimed canvas with oil paint while allowing telltale signs of drawing to remain.
Thanks to Wolf Kahn, the hills, forests, farms, and barns of southern Vermont may be seen in many of the world's finest art galleries, museums, and private collections. For nearly 50 years the beloved landscape painter, a leading figure in contemporary American art, has spent summers on a hillside farm in West Brattleboro. He has traveled the back roads and unmarked lanes of Windham County with pastels and sketchbook in tow, depicting the landscape in a signature style that hovers between abstraction and figuration. On Saturday, October 11 at 7 p.m., a week after his 87th birthday, Kahn will give a talk entitled "Control and Letting Go" at the Brattleboro Museum & Art Center (BMAC). Reservations are $10 for the general public, $5 for BMAC members. Call 802-257-0124, ext. 101 or visit www.brattleboromuseum.org to reserve online. A book and memorabilia signing will follow.
Roy Dowell, Iva Guerorguieva, Julia Haft-Candell, Rachel Lachowicz, Michael Reafsnyder, Jim Richards, Steve Roden, Tessie Whitmore
Opening Reception: Tuesday September 2, 6-9PM Claremont Graduate University 251 E. Tenth Street, Claremont, CA 91711 Gallery Hours: Monday- Friday 10am - 5pm
Building on the rich tradition of geometric abstraction, three one-person exhibitions take the visual language of line, form, and color in compelling directions. In the first part of the 20th century, artists such as Wassily Kandinksky (1866-1944), Kasimir Malevich (1878-1935), and Piet Mondrian (1872-1944) explored a vocabulary of simple geometric forms—rectangles, triangles, squares, and line—in abstract compositions that addressed universal truths and utopian ideas. This tradition, carried forth, expanded, and transformed over the course of the 20th century, continues into the present with innovative approaches to the genre by:
Franklin Evans’ site-specific, all-encompassing environments include unstretched canvases, wall paintings, photos, sound and theoretical texts. Celebrating connections over divisions, Evans’s work brings images and ideas together through indexing, cataloguing and mapping.
The paintings of Monique van Genderen are something to move into: spaces defined by shape, color, depth, and motion. Van Genderen, a self-described nonobjective abstractionist, is hard to pin down to a particular genre or art movement, although her work touches on quite a few — including Abstract Expressionism, color-field painting, and Abstract Illusionism — while remaining in a class by itself. “I am working with a lot of elements of illusion, specifically conceptual illusions, playing with people’s expectations of what they’re looking at,” she told Pasatiempo. “Sometimes I landed in the color-field genre because I was making more reduced paintings with shapes I collaged together. But I’m really attempting to make every painting pretty different.” With notable, well-received exhibits on both coasts under her belt, van Genderen, a Los Angeles-based artist, comes to Santa Fe for her inaugural show at TAI Modern.
This exhibition of new acquisitions brings together recent gifts to the Roanoke College's Permanent Art Collection that augments the strengths of the College's diverse holdings. Works represent internationally and nationally known artists: Derrick Adam, Ricky Allman, Michelle Arcilia, Dennis Ashbaugh, Pattie Lee Becker, Alex Brown, N. Dash, Franklin Evans, Clare Gill, Tatsuro Kiuchi, Mike Montero, Carrie Marill, Gary Peterson, Valerie Roybal, Mark Uriksen, and Firooz Zahedi.
German American Abstract ExpressionistHans Hofmann credited his time teaching painting at UC Berkeley in the early 1930s for his "start in America as a teacher and artist."
Hofmann thanked the university with a gift of nearly 50 paintings representing the breadth of his life work, from Surrealist-influenced compositions to more physical and abstract images. The paintings are on display at the UC Berkeley Art Museum through Dec. 21 and represent the largest collection of the noted painter's work in any museum.
A thought-provoking exhibition of twenty-first century painting, sculpture, video and furnishings representing the newest abstract work from today’s best artists. NOW-ISM features international emerging stars like Sarah Cain, Diana Al-Hadid and Florian Meisenberg and established artists including Columbus’ own art star Ann Hamilton, Jim Hodges, Teresita Fernández, Jason Middlebrook, Carrie Moyer and Pia Fries. The show will include more than 100 works spanning all three floors of the space.
If you walk by Pennsylvania Academy of the Fine Arts' Hamilton Building this week, you’ll be greeted by a colorful new surprise.
The legendary fine arts institution has commissioned German-born, New York-based contemporary artist Markus Linnenbrink to create a 118-foot vibrant masterpiece in the entrance hall. He is well known for his abstract, layered, colorful works.
Closing their season, the Bedford Gallery will narrow its focus to the physical and historical world of the skull. The Skull Show examines the role that skulls have played in the historical register, as memento mori, traditional religious icons, and vanitas themes in still life paintings. The Skull Show will also highlight the role the skull has played in the contemporary arts, exploring its appearance in counter cultures such as skate, surf, tattoo, as well as urban graffiti projects.
Magnum Opus," an exhibition of works by Hans Hofmann, will open in Germany at the Museum Pfalzgalerie Kaiserslautern on 8 March and will remain on view through 16 June 2013.
Hans Hofmann trained in Munich and Paris, where he met artists such as Pablo Picasso, Georges Braque, Juan Gris and George Rouault. The German-born Hofmann fully established himself as an artist in the United States in the 1930s. In 1930, Hofmann traveled to the United States, and until 1932 he taught at the University of California, Berkeley, and the Chouinard Art Institute in Los Angeles. Hofmann moved to New York in 1932 and taught at the Art Students League before opening the Hans Hofmann School of Fine Arts in 1933.
With highly successful art schools in New York and Provincetown, he exerted a lasting impact on an entire generation of American artists of the postwar period. Hofmann was the catalyst of the Abstract Expressionists and influenced painters such as Jackson Pollock, Helen Frankenthaler, Lee Krasner, Philip Guston, Robert Motherwell and Barnett Newman.
The Las Vegas Art Museum's Collections comes back "Into the Light"
So there it was. Amid the single-serving shrimp cocktails, bite-sized quiche, wine, hugs, polite conversations, photo-ops, artists, writers, gallerists and well-heeled art collectors, lived the one single truth: We've been given another chance.
Through careful negotiation, more that a year of planning and a major revamping of UNLV's Barrick Museum, the partnership between the Las Vegas Art Museum and the university's College of Fine Arts came to fruition Tuesday night at the reception for "Into the Light," featuring a large chunk of the Las Vegas Art Museum's permanent collection.
Esteban Vicente’s death in 2001 at the age of 97 marked the passing of one of the last surviving members of the first generation of New York School painters. He arrived in America in 1936, schooled in the old world academic tradition of his native Spain and fresh from a sojourn in the heady milieu of 1920s Paris.
Anthony Meier Fine Arts is pleased to present an exhibition of new works by Rosana Castrillo Diaz. In her third solo show at the gallery, Castrillo Diaz debuts a series of three-dimensional wall works that continue parallel dialogues with light and shadow, visibility, surface and materials.
As part of the museum's 50th anniversary celebrations, OC Collects presents curated selections from more than a dozen of the most important private collections in our community. Since the museum's founding in 1962, collectors in Orange County have been among the most supportive and adventurous champions of modern and contemporary art, although this is little known or acknowledged within the broader artworld. The exhibition will include major paintings, sculptures, photographs and videos ranging from classic modern works to emerging artists of the present moment.
This exhibition is the Provincetown Art Association Museum's first major exhibition of Robert Motherwell's work created in the summer of 1942 in the artist's studio in Cape Cod, curated by Lise Motherwell and Dan Ranalli.
Abstract Drawings presents a selection of forty-six works on paper from the Smithsonian American Art Museum’s permanent collection that are rarely on public display. From simple sketches to highly finished compositions, these works represent the rich possibilities of abstraction as a mode of artistic expression.
Western Project is proud to present our second exhibition of paintings by Thomas Burke. Originally from Boulder City, Nevada and a graduate of University of Nevada at Las Vegas, Burke has been a resident of Brooklyn, New York since 2005. As a cerebral painter, this body of work continues his interest in systems, minimalism, and Op Art from the 1960s and 70s; with the computer as a drawing tool, his images also explore contemporary graphic design, digital technology and the history of hard-edged abstract, geometric painting.
University Art Museum (UAM) at California State University Long Beach will present twelve radiant new and recent geometric abstract paintings in Patrick Wilson: Pull. Wilson’s intricately layered compositions wed glowing color fields to structured shapes. Transparent squares, rectangles and narrow lines of acrylic paint draw the viewer into the pulsating depths of his fresh artworks. Three works on paper from the 2008 series, Suite for Mount Washington, will also be included in the exhibition. These gouache serigraphs, made under the master printer Christian Zickler, directly influenced the complex visual syntax that presently informs his current painting practice.
Los Angeles painter Patrick Wilson presents a magnificent new body of his brilliantly constructed, abstract acrylic on canvas paintings in his highly anticipated third solo exhibition Slow Motion Action Painting at Marx & Zavattero, June 2 - July 14, 2012. Wilson’s paintings are conceived with the ideas of beauty and pleasure at the forefront. As the title of the exhibition suggests, Wilson is inviting his viewers to enter the gallery, and then consciously slow down in order to actively experience his work in the same manner in which it was created.
EST–3 focuses on Los Angeles art in the New York collection of Beth Rudin DeWoody. Its title (Eastern Standard Time Minus Three) is a playful rejoinder to Pacific Standard Time: Art in L.A. 1945-1980, a Getty-initiated series of more than 60 exhibitions across Southern California that examines the emergence of Los Angeles as an art center. Starting on the opposite end of the country, and looking across three time zones, EST–3 avoids the tempestuousness of local dramas and the hyperbole of hometown boosterism to present a cool, wide-ranging view of art made in Los Angeles over a 40-year period of unprecedented development.
Michael Reafsnyder emphasizes the dynamic characteristics of acrylic paint with his masterful ability to manipulate the water-based medium in his recent work on display at R.B. Stevenson Gallery in La Jolla. He fills the canvas with layers of complex hues and expressive strokes of color that flow through the canvas, forming interesting clusters of colors at the intersections.
Echoing the multi-faceted properties of the paint, Reafsnyder uses multiple sizes of pallet knives and sometimes found objects, “I don’t like cleaning brushes…I use anything but a brush.” Amazingly, he is able to keep the colors from mixing or turning into a muddled brown.
Experiments in Abstraction: Art in Southern California, 1945 to 1980, addresses a generation of California-based artists who explored the possibilities of abstraction. In the years following World War II, a distinctive style of art, identified as Hard-Edge painting, was developed by pioneering artists such as Karl Benjamin, Lorser Feitelson, Oskar Fischinger, Helen Lundeberg, and John McLaughlin.
In 1959 Los Angeles Times art critic Jules Langsner coined the term “Hard-Edge Painting” to describe the work of these California painters. Partly a reaction against Abstract Expressionism, best known in the thickly layered paintings of American artists Willem de Kooning and Jackson Pollock, Hard-Edge emphasized angular lines, reduced forms, precise surfaces, and rich colors. The resulting aesthetic is forever associated with mid-century California Modernism. Beyond the pioneering Hard-Edge painters, other California-based artists, including Charles Arnoldi, Sam Francis, and Ed Ruscha, continued to experiment and transform abstraction on the West Coast.
This exhibition, which includes works from the Museum’s permanent collection and some local loans, explores the diversity of Post-War abstraction in Southern California.
This exhibition will focus on Provincetown's legacy as an art colony, and will cover over 100 artists from Charles W. Hawthorne's founding of the Cape Cod School of Art in 1899 to the present day. This will be the largest and most comprehensive survey of the art colony completed in over 40 years.
Artistic Evolution is inspired by works that were shown at NHM when it was the Los Angeles County Museum of History, Science, and Art, the first dedicated museum building in Los Angeles. The Exposition Park museum historically played a crucial role in nurturing the dynamism and richness of the Los Angeles art scene. In the mid 1960s, art exhibitions were moved from the Museum to the new Los Angeles County Museum of Art on Wilshire Boulevard, and NHM focused its mission on natural history.
Featuring works by Suzanne Caporael
Patrick Lee’s gorgeous portraits of tough young men are great works of art because they entice you to imagine what it might be like to live in someone else’s skin.
Western Project is proud to present the second solo exhibition by Los Angeles artist Patrick Lee. After a successful show in New York last year, the artist will present seven recent large scale drawings and a new video project.
Nancy Graves: A Memorial Exhibition brings together seven works from the Art Center’s permanent collection by the artist Nancy Graves.
Pia Fries is on view at the Berlinische Galerie through 11 May 2009.
