Introducing the Paintings of David Pollack

A Tree for Peter, 2013, oil on panel, 12 x 11 inches.

Into December: Red Hook, Brooklyn, 2014, oil on panel, 12 x 11 inches.

October's End, Red Hook, Brooklyn, 2014, oil on panel, 12 x 11 in.

Late Winter: Red Hook, Brooklyn, 2014, oil on panel, 15 x 20 inches.

David Pollack is a Brooklyn based painter and musician. From his studio in Red Hook he paints encrusted works that are much more sublime than that adjective implies. His surfaces can be gemlike or move towards the monochrome but both evoke the light and élan found in the glistening seasons and environments that inspire them.

Framed Winter Paintings, 2014

Into September: Red Hook, Brooklyn, 2014, oil on panel, 9 x 8 inches.

From the Artist's Statement:

If an artist comes to nature quietly and humbly, he will always walk

away with the answer. To me, that is the secret of painting (and making

any kind of art for that matter).

So, I'm back to painting, two years now, after a twelve year break.

Stopping was organic. In that time I played a heck of a lot of music and built

a lot of cool stuff. If there was ever a time to come back to painting, now

is an incredible time. Folks seem to be embracing it again. When I left

the art world, it was being taken over by fashion . . . . ok, enough about the old days . . . .

If I have a "modern" starting point, it is probably Monet and Pissaro.

I come back to them constantly.

I came from the last generation taught by Hofmann students.

Plastic space is dogma.

For process, Giacometti, Auerbach (and the other English mud painters),Sol Lewitt and the post minimalists.

For soul, Andrew Forge's voice is always telling me to slow down and John

Walker's is always telling me to find the beauty in the mud. Marjorie

Portnow little landscapes taught me small paintings can be just as engaging as a huge canvas.

- David Pollack

For December: Red Hook, Brooklyn, 2014, oil on panel, 18 x 16 inches.

Edge: Red Hook, Brooklyn, 2014, oil on panel, 18 x 16 inches.

These last Days of March / Spring's Whisper, 2014, oil on panel, 15 x 14 inches.

David Pollack at work in his studio in Red Hook, Brooklyn.
Photo by Heather Bunch

Rite of Spring, Red Hook, Brooklyn, 2014, oil on panel, 24 x 23 inches.

Vermont, Winter, 1999, oil on panel, 24 x 18 inches.

Studio view with Hiro, 2014 (top left), Red Hook, Brooklyn.

*Studio portrait of the artist by Heather Bunch.
All other photographs courtesy of the artist.

Justine Rivas at The Valley

Installation view: Justine Rivas, How to Carry a Cloud. Photo courtesy of The Valley Justine Rivas: How to Carry a Cloud Up through August 7, 2021 The Valley 1800 Camino del La Placita, Unit D Taos, NM 87571 From the Press Release: The Valley is pleased to present its first solo exhibition with Los Angeles-based painter Justine Rivas . The exhibition, titled How to carry a cloud, includes a series of new paintings that explore hidden sources of water in the desert landscape. Rivas uses clouds and creosote bushes as metaphors for the interconnected sources of life-giving moisture in arid regions. Both reflect water stored in the land and the air, deceptively close and yet inaccessible. Cloud forms appear across several works, oscillating between pattern and landscape. As above, so below- creosote in its various forms appear as a familiar and familial plant speaking to the artists’ connection to the desert landscape, her family has lived in the borderlands since t...

Current Show at Galerie Victor Sfez - On View Through April 23

EXHIBITION OF 19 MARCH TO 23 April 2016 DANIEL G. HILL develops a sensitive geometry. He chooses fragile materials that he weaves, knots, suspends, sometimes playing with the influence of gravity, which he uses to his advantage. A keen observer, he seizes the moment and the detail to create work of unusual and poetic balance. JOCELYNE SANTOS is a color magician. As much in her paintings as in her sculptures, contrasting tones are juxtaposed with harmony, giving birth to unexpected chromatic variations. We never complete our discovery of her palette. New nuances invite surprise, illusions dazzle our eyes, and that which is hidden in the work ends up being its main concern. SHAWN STIPLING works with perception. Space is always present, suggested by clever crossings and misleading offsets that generate new virtual planes. The simplicity of his line is only an appearance: executed by hand, it still takes on a deliberately mechanical look. Confiding to us, the ...

Brenda Goodman @ Life on Mars

Installation view with Almost a Bride , 2015 (rt.) Almost a Bride , 2015, oil on wood, 80 x 72 in. Almost a Bride , 2015 (detail) Brenda Goodman continues to plumb the depths of her own, as well as our collective unconscious in this staggering exhibition of major, new paintings. Goodman, once again presents a very personal narrative brought to life through intimate and unexampled forms that are both guarded, and set afloat by a limited palette of muted and gemlike colors. Brenda Goodman: New Work is on view through April 19 when Life on Mars will present an Artist's Talk between Goodman and the poet and critic John Yau. The event will be moderated by Michael David and will take place between 2 - 4 PM. For more images follow the link below . . . .

Structure and Imagery

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