Monday, March 2, 2015

Perle Fine @ Berry Campbell

Installation view with two works from Fine's Cool Series

Installation view

Untitled Study, 1952

Installation view with Winter (Charcoal Red), 1960

Prescience #3, 1952

 Installation view with Cool Series No. 12, Fiercely Remote, ca. 1961 - 62

Installation view

 No. 25, 1950


Perle Fine (1905 - 1988)

Through March 14, 2015

530 W 24th Street
New York, NY 10011

Friday, February 27, 2015

Heidi Pollard @ Outpost Performance Space

 Winter Dreams of Summergouache on shaped rag board

 Caryatidgouache on shaped rag board

 Chocolate Snowgalgouache on shaped rag board

Out of Time, gouache on shaped rag board

Gone Fishing: New Works by Heidi Pollard

Through March 28, 2015

210 Yale SE
Albuquerque, NM 

Tuesday, February 24, 2015

Rosalyn Drexler @ Garth Greenan Gallery

 Romance (Emilio Cruz Could Be Tender), 1991
Acrylic and paper collage on canvas
50 x 36 inches

 Men and Machines V, 1966
Acrylic and paper collage on canvas
30 x 50 inches

 Money Mad, 1988
Acrylic and paper collage on canvas
26 x 30 inches

 Night Visitors, 1988
Oil on canvas
24 x 30 1/8 inches

From the Press Release:
The exhibition and its accompanying publication focus on two bodies of Drexler’s work—her uniquely prescient, Pop collage-paintings from the 1960s and a group of related works created between 1988 and 2014. A pioneer of what would later become known as appropriation, Drexler’s paintings from the 1960s incorporate images culled from a variety of popular sources—newswire photographs, detective novels, movie posters, and advertisements. Unlike her Pop contemporaries, Drexler worked from these images directly—collaging them onto her canvases and painting over them in thin layers. Her subjects are straightforwardly portrayed, usually against monochromatic grounds or simple arrangements of geometric shapes. They appear isolated and bizarrely still—uncomfortable in the narratives into which they have been inserted. Narrative content has always been at the forefront of Drexler’s work. The grotesqueness and vulgarity of our everyday lives—especially those of businessmen, celebrities, and politicians—are the artist’s primary concerns.
Drexler’s recent paintings are more elaborate and open-ended. The backgrounds are more detailed and there are often multiple narratives occurring simultaneously. Her source images are less obvious, as well. Frequently, her subjects wear masks or face away from the viewer. Love and violence—our two most “intimate emotions,” Drexler says—are still their central themes.
Born in Bronx, New York in 1926, Rosalyn Drexler first began exhibiting her work during the late 1950s. Since then, she has had over 15 solo exhibitions, including one at Reuben Gallery (1960, New York), three at Kornblee Gallery (1964, 1965, 1966, New York), and one at Pace Gallery (2007, New York). In 1986, a retrospective of her work—Rosalyn Drexler: Intimate Emotions— opened at the Grey Art Gallery, New York University. Rosalyn Drexler and the Ends of Man, the artist’s most recent survey exhibition, took place in 2006 at Rutgers University’s Paul Robeson Gallery (Newark, New Jersey).

The Misfits, 1960
Acrylic and paper collage on canvas
24 x 30 inches

 Marilyn Pursued by Death, 1963
Acrylic and paper collage on canvas
50 x 40 inches

 Self-Portrait, 1964
Acrylic and paper collage on canvas
40 x 30 inches

 Over There, 1960
Paper collage
2 1/4 x 3 1/8 inches

 Number 3, 1960
Paper collage
1 3/4 x 2 3/4 inches

 Figure Reading, 1960
Paper collage
2 3/8 x 3 1/8 inches

Free Lunch, 1960
Paper collage
2 1/8 x 3 1/8 inches

Rosalyn Drexler: Vulgar Lives
Through March 28, 2015

529 W 20th Street, 10th Floor
New York, NY 10011

Monday, February 23, 2015

Newly Added to the Blog Roll: Nothing But Good

Franz Kline, Herald, 1954. From the blog post Paul Covers / Franz Kline on Nothing But Good, Nov. 15, 2014.

I've recently added a new blog to my Art Blog roll located at the very bottom of this page.

On Nothing But Good invited artists show they stand in a tradition by expressing their commitment to an inspiring, no longer living, predecessor. Nothing But Good Should be Said of the Dead; A collaborative project by Michael de Kok, RenĂ© Korten and Reinoud van Vught. 

A lot of great stuff so check it out when you get a chance.

Eliot Markell @ Drawing Rooms

Eliot Markell's Red Stencil 

Eliot Markell: Imaginary Sculptures 

A Project Room* solo installation of works on paper.
On view through Mar. 15, 2015.
180 Grand Street
Jersey City, NJ 07302

*Also on view: 
Nine solo exhibitions in drawing, painting, print and installation, featuring
Terri Amig: Mercury and the Little Mysteries, Enrico Gomez: Paper Works, Lisa Ficarelli-Halpern: Chamber Pieces, Eileen Ferara: Estuary, Jaz Graf: In Other Words, Carol Radsprecher: We’ve Escaped the Studio!, James Prez: Bird(s) on a Wire, and Max Velez: Faces.