Tuesday, May 3, 2016

If Color Could Kill, Curated by Jeff Frederick at the Salena Gallery LIU


 Photo by Jeff Frederick



 Photo by Jeff Frederick



Photo by Robin Stout



 Brooke Moyse, Partick Berran, Trudy Benson, Jeff frederick, Gary Petersen, Robert Otto Epstein and Paul Behnke. Photo by Jake Cartwright



Paul Behnke, Craig Taylor and Trudy Benson



 Trudy Benson






 Paul Behnke



 Keltie Ferris, Robert Otto Epstein, Paul Behnke



 Trudy Benson



 Craig Taylor



 Brooke Moyse



 Curator Jeff Frederick and Paul Behnke
Photo by Robin Stout






 Brooke Moyse



 Gary Petersen



Partick Berran




If Color Could Kill
curated by Jeff Frederick

Featuring work by: Paul Behnke, Trudy Benson, Patrick Berran, Robert Otto Epstein, Keltie Ferris, Brooke Moyse, Gary Petersen and Craig Taylor

April 4 - April 29, 2016

Salena Gallery at Long Island University


**If Color Could Kill will travel to Vassar College in Poughkeepsie, NY. 
Check this blog in the future for details.**


Moses@90






From the Press Release:

William Turner Gallery is pleased to present Ed Moses at 90, a milestone exhibition and the first comprehensive retrospective of the artist's drawings and paintings since 1996. The installation will occupy two venues: William Turner Gallery and the former Santa Monica Museum of Art building at Bergamot Station. 

On the occasion of Moses' 90th birthday, the exhibition will celebrate the varied and prolific career of this indelible Los Angeles art world fixture. A painter and "mutator", whose allegiances have been to tireless experimentation rather than to the tenets of any one movement, Ed Moses has been honing a distinct visual vocabulary for over 60 years, obsessively mining the possibilities of abstraction. At 90, Moses continues his dogged search for the elusive metaphysical power of painting, creating works that are about the expression of temporality, process and presence, beyond the physical limitations of surface.

The exhibition will survey works spanning the entirety of Moses' career, including a selection of never before seen paintings. Earliest examples include meticulous architecturally inspired drawings from the 50s, the well-known Rose and patterned graphite drawings from the 1960s and 70s, cross hatch and screen paintings, looser gestural paintings from the 1990s, and more recent works that include the craquelure and mirror paintings. The restless energy with which Moses has borrowed from pre-existing formal vocabularies and adapted their morphologies to make them his own, attest to the mutable nature of his vision. A self-described "mark maker," his concerns exceed formal ones and slip easily into philosophical and anthropological spaces. He has described his own process as a shamanistic offering, a self-assertion and proof of existence left for posterity to the "tribe"; a primitive desire to leave one's mark. Above all else, the work is about the process of making, and the fragile reconciliation of chaos and control it requires. In Moses' own words: "The point is not to be in control, but to be in tune."

A member of the original stable of artists showing at LA's legendary Ferus gallery, Moses exhibited there for the first time while still an MFA student at UCLA in 1958. Exhibiting among the likes of Billy Al Bengston, Robert Irwin, Ed Kienholz, Larry Bell, and John Altoon, all of whom became known as the fabled "Cool School," Moses was among those who shaped the infancy of the West Coast art scene. A maverick among them, given his preference for process driven abstraction over strict adherence to the Finish Fetish and Light and Space movements championed at the time, Moses has always done things a bit differently. With an itinerant aesthetic, he has continued to embrace transformation and change as a matter of course. In 1974, following an exhibition in New York with André Emmerich, Clement Greenberg himself immortalized Moses as a "player."

Ed Moses works daily, to create out of doors en plein air. His unique Venice, California studio accommodates this freedom structurally with fluid transitions between indoor and outdoor spaces. This is the artist's third exhibition with William Turner Gallery. Previous exhibitions include, Ed Moses: Now and Then (2015), and Ed Moses & Larry Poons: The Language of Paint (2014).



Ed Moses: Moses@90

Through June 25

William Turner Gallery
Santa Monica, CA

Wednesday, April 27, 2016

Rose & Roy: A Documentary Film by Adolfo Doring and Claudia Baez on Roy Oxlade and Rose Wylie







Follow the link HERE to watch the trailer to the feature length documentary by Adolfo Doring and Claudia Baez.








All six images above are screen captures from Roy & Rose a documentary film by Adolfo Doring and Claudia Baez.




Monday, April 25, 2016

David Pollack at Stout Projects: Opening Reception for the Artist


Painter, David Pollack at the opening of his first one man show Fifth Season in Brooklyn, NY




Jason Rohlf, Farrell Brickhouse and David Pollack. 



 Robin Stout the founder and director of Stout Projects with Pollack's Spring Sight:Red Hook, Brooklyn, 2015.




 Robin Stout, Holly Wilson, and Jon Cowan









 James Prez, Farrell Brickhouse, and Len Bellinger









 Joanna Karatzas catches up with Farrell Brickhouse









 James Prez and Emily Berger









 David Pollack signs a copy of his catalogue for Emily Berger




 Juan Hinojosa




 Riad Miah and Clarity Haynes









Vincent Como, Holly Wilson, Debra Ramsay and Jason Rohlf









 Installation view




























David Pollack: Fifth Season

On view through May 22

Stout Projects
Brooklyn, NY