Saturday, June 27, 2020

Strangers in Stranger Lands at Marquee Projects


Clockwise: Genieve Figgis, Janet Maya, Peter Schlesinger, and Felipe Ariza Castro

From the Press Release:

Marquee Projects is pleased to present Strangers in Stranger Lands, a group exhibition of paintings and sculptures by Felipe Ariza Castro, Mary DeVincentis, Genieve Figgis, Philip Gerald, Carly Haffner, Brandon Lipchik, Janet Maya, Peggy Robinson, Carol Saft, Peter Schlesinger, and Emily Quinn.

Mary DeVincentis, After the Gold Rush, 2020, acrylic on panel, 14 x 11 inches.



There comes a time in the life of every human when he or she must decide to risk "his life, his fortune, and his sacred honor" on an outcome dubious. Those who fail the challenge are merely overgrown children, can never be anything else.
 – Robert A. Heinlein, Stranger in a Strange Land. 1961
In recent weeks we’ve all had the disorienting experience of witnessing massive, dramatic global events while still largely staying at home or slowly emerging from our homebound cocoons. Our minds have been expanded both outwardly and inwardly, and Marquee Projects presents an exhibition of international artists who risk delving into the ineffable and often unsettling spaces of consciousness, experimenting with the traditional genre of the figure in a landscape. Everything that seems familiar is rendered foreign. The only certainty is uncertainty. Placement is neither here nor there as we wrestle with time and history. We live in strange times and these artworks place us in stranger lands.

We kindly ask that you wear a mask. Groups of no more than four people at a time may enter the gallery. We also invite you to visit and explore our exhibition online. Marquee Projects’ website and Artsy site will post installation and individual photos of the work. Please also visit us on our social media platforms on Instagram and Facebook.

Strangers in Stranger Lands

June 20 - July 26, 2020

Marquee Projects
Bellport, NY

Wednesday, June 24, 2020

About the Human Figure at Michael Werner Gallery, London


Sigmar Polke, Zwei Köpfe, 1971-73
Dispersion, latex, acrylic on canvas, 51 1/4 x 43 1/4 inches


About the Human Figure

June 25 - September 4, 2020

From the Press Release:

Michael Werner Gallery, London is pleased to announce the reopening of our gallery and the opening of our new group exhibition titled About the Human Figure, which will run in tandem with our summer online exhibition titled The Human Figure. On view at Michael Werner Gallery, London will be a selection of major paintings and sculpture by James Lee Byars, Enrico David, Peter Doig, Florian Krewer, Francis Picabia, A.R. Penck, Sigmar Polke, Raphaela Simon, and Don Van Vliet.
From the beginning of time, humans have desired to see themselves reflected in art. The human figure was rendered on cave walls and carved into stones to be carried as totems or idols. Since antiquity, artists have expanded on these early impulses, and the portrayal of the human figure has a long tradition in the history of art. Displaying works created from 110 years ago until today, About the Human Figure explores the limitless possibilities of the human figure in painting and sculpture.
About the Human Figure opens on 25 June at Michael Werner Gallery, London, and will remain on view through 4 September. The gallery is open by appointment from 25 June to 3 July, Tuesday to Friday from 11am to 5pm. The gallery will reopen to the public on 7 July, Tuesday to Friday from 10am to 6pm. To ensure the safety of the public and staff, Michael Werner Gallery, London has implemented social distancing guidelines, which can be found on our website, or by contacting us via email at london@michaelwerner.com, or by calling +44 207 495 6855.

For more information regarding the exhibition, please contact the gallery at press@michaelwerner.com, visit www.michaelwerner.com, or contact Carrie Rees, Rees & Co. at carrie@reesandco.com. Follow the gallery on Instagram, Twitter, Facebook, and Wechat.

22 Upper Brook Street
London Wik 7PZ

Tuesday, June 23, 2020

Kudditji Kame Kngwarreye & Idris Murphy at Mitchell Fine Art


Kudditji Kgwarreye, 2004



Idris Murphy, Wash Away, acrylic on board, 60 x 60 cm


Kudditji Kame Kngwarreye and Idris Murphy

June 10 - July 18

86 Arthur Street, Fortitude Valley
Brisbane QLD 4006
Australia





Friday, June 12, 2020

Jeanne Tremel, Slow Dive: An Online Exclusive at Court Tree Gallery



Jeanne Tremel, May 22, 2013, oil on yupo paper, 24 x 24 inches



Jeanne Tremel: Slow Dive 


An online exclusive solo exhibition

June 12 - July 24, 2020

From the Press Release:

Court Tree Collective proudly presents Slow Dive by Jeanne Tremel. Whether Jeanne is gathering found objects, hand sewing new ones, or painting colorful abstractions her work moves to the same rhythm. In the discovery of her work, there is something incredibly fresh and organic.

Jeanne Tremel (b. 1960) is a visual artist who has shown her works throughout the NYC area, the US, and abroad. Born in Minneapolis, her formal art education began at St. Cloud State University, Minnesota (BFA), and continued in Chicago at The School of the Art Institute of Chicago (MFA). Later, at the School of Visual Arts in NYC, she earned a Certificate in Art Therapy. She has exhibited her work most recently at Nancy Margolis Gallery, Pelham Art Center, David & Schweitzer Contemporary, Royal Society of American Art and Ground Floor Gallery. Her work has been reviewed in The New York Times, Time Out New York, and featured on many online venues, such as Woman Artist A Day, Left Bank Art BlogArtefuse, Two Coats of Paint, and Gallery Travels. In November 2015, she was interviewed about her work for The Huffington Post. She considers herself an abstract painter at heart, switching between oil and mixed media flatwork and sculptural wall & floor pieces, and installations, all made of collected materials. She also enjoys the challenge of painting en plein air, especially seascapes. Jeanne has lived in Brooklyn for 26 years.




Thursday, June 11, 2020

Aham: A Video Project by Nehal Devi


Nehal Devi, Video still from Aham, 2020

Nehal Devi, Video still from Aham, 2020



Aham, Nehal Devi, 2020


I live my life in widening circles that reach out across the world. I may not ever complete the last one, but I give myself to it. I circle around God, that primordial tower. I have been circling for thousands of years, and I still don’t know: am I a falcon, a storm, or a great song? Rainer Maria Rilke


Nehal Devi, Video still from Aham, 2020


Nehal Devi is a yogini and an artist, who expresses herself through varied forms: painting, performance, and moving/still images. She explores the seemingly paradoxical relationship between Nehal, the ‘self’ identified with her name and form (the relative ‘I’), and Devi, the unchanging unidentified ‘Self’ (the absolute ‘I’). Her work focuses on I-I.


All Images & Content © Nehal Devi 2020

Tuesday, June 9, 2020

William Norton: Of This Time and Timeless


Pistol Packing Little Boy
26” x 27” x 7”
Hand Etched and Formed Plexiglass with Acrylic Paint, Shadows and Reflections 
2019 


Willian Norton's area of concern has long been the protest, the outcry for better and just treatment, the demand for equality and compassion, and the brutal, monstrous response of those in power, to that demand.
The world needs voices like Norton's that are able to poetically and at times beautifully distill and present the profound sufferings of a citizenry and force an often indifferent, affluent, and predominantly white public to look at itself and question how close we are living to our professed values. 
To paraphrase, the painter,  Francis Bacon, Norton creates very close to the nerve and in doing so comes very close to our nerve.
 Norton's current body of work is topical but it's also much more. It eloquently voices, perhaps the dominating and eternally ingrained characteristic of the human experience, the movement towards right and equality. It of this time, yes, but also timeless.


 Divine Wind
102” x 21.5” x 3.5”
Hand Etched Plexiglass with Shadows and Reflections 
2018-2019

 (Detail from Divine Wind)


William Norton and the Hei Hei dog in front of an installation by Etty Yaniv, 2019
photo: Jim Friedlich 


 Movable Cops
132” x 154” x 12”
Hand Etched Plexiglass on Movable Rack System, Aluminum, Mirrored Plexiglass, Wood, Paper, Charcoal on Cardboard, Clock Pendulum, Umbrella, Yellow Raincoat, MDF
2019-2020

Thursday, May 21, 2020

A Great Loss: Susan Rothenberg 1945 - 2020


 Susan Rothenberg in her studio. Photograph by Jason Schmidt / Courtesy Sperone Westwater



"I was searching for an image and all I had to find it with was my head and my hand . . . That's what a painter is a hand and a head."

-Susan Rothenberg




 Blue Head, 1981




 5 Eyes (Study), 1997




 Installation view: Susan Rothenberg: The Mayor Gallery Recent Paintings, 12 Feb - 15 Mar, 1980




Red Swans, 1982




RIP, Richard Anuskiewicz: 1930 - 2020


 Richard Anuszkiewicz, 1978, Light Magenta Square, acrylic on canvas, 60 x 60 in.


"Art has been a way of life for me. I have never done anything else. Art was something I needed to say. It made life more than existence. I just hope that in 100 years people aren't worried about when I did something, but what I did."


Anuszkiewicz's geometric paintings dazzle the mind and eye with their exquisite use of color, seeming to glow with an inner light. In a 1985 New York Times article, David Shirey wrote: "[w]e would not know so much about color today, nor feel so much about it, were it not for Richard Anuszkiewicz. He has changed the way we think about and respond emotionally to color, and has even affected our spiritual response to it." His work has inspired us, challenged us, and, in poetic fashion, connected us with our spirits. In Anuszkiewicz's words:



"[l]ike the Impressionists, I want the viewer to mix the colors in his eye. I do not want to mix them on the palette. This way, I get greater intensity of color and greater purity, too. Unlike the Impressionists, however, I've freed such explorations from subject matter and discovered greater freedom in non-objective art."

Anuszkiewicz is considered one of the founders and giants of Op Art in America, although he maintains that he doesn't belong to a group, and his work has also been described as perceptual art and scientific art. In the era since that movement was defined and celebrated (roughly speaking the first half of the 1960s) his work has either been rebelled against - for example by Minimalists such as Donald Judd - or praised, criticized or emulated. But it has rarely been ignored. In pop culture, meanwhile, his work, and that of the Op Art movement more generally, would prove influential on the fashion, advertising and music industries. These external responses to Anuszkiewicz's art, however, have rarely impacted on the personal vision which has guided his development. His longevity, meanwhile, has ensured that this vision continues to invigorate the Op Art movement half a century after its conception. As Dennis Dooley wrote: "Anuszkiewicz's paintings force us, again and again, and in wonderfully imaginative ways, to reflect on our experience as human beings in a physical world - as well as one defined by cultural associations."
-From The Art Story 

Monday, May 18, 2020

Art During Lockdown at Plan B. Artist Studios: Unnati Singh and Siddhartha Kararwal



Unnati Singh, From the project, Stoned, 2020
Photo 
© Francis Gomila 2020

In March and April during the height of the Coronavirus pandemic Unnati Singh and Siddhartha Kararwal, two visiting artists from India, experienced weeks in lockdown unable to return home.
Below is a photo essay by Francis Gomila that serves as a striking record of the artists working through that experience.

PLAN B. Artist Studios is an artist mentoring residency program in which invited artists run a variety of innovative residencies, art encounters, workshops and retreats.
The program was founded and is directed by the artist, Francis Gomila.

*All images © The Artists and Plan B. Artist Studios


Artists in residence at Plan B. Artist Studios: Unnati Singh (Mumbai) and Siddhartha Kararwal (Jaipur) Photo © Francis Gomila 2020

 Unnati Singh

Unnati Singh's artworks are an exploration into unfamiliar territories, journeys into uncharted dimensions, which aims to reveal parallel worlds in which conscious and subconscious clash into each other.
Singh lives and works in Mumbai, India.



"My practice responds to the space /site I am working in. I see each work of art as an alternative method of recording time which allows me to create a new narrative for my art and my own practice in each case."
Siddhartha Kararwal lives and works in Jaipur, India.



Unnati Singh, Olive Press, 2020 Photo © Francis Gomila 2020


Unnati Singh, Olive Press, 2020 Photo © Francis Gomila 2020


Unnati Singh, Stoned, 2020 Photo © Francis Gomila 2020


Unnati Singh, Stoned, 2020 Photo © Francis Gomila 2020


Siddhartha Kararwal, 2020 Photo © Francis Gomila 2020

Monday, May 4, 2020

Bram Bogart and the Circle Motif


The book, Bram Bogart by Francine-Claire Legrand
Lannoo, 1988 



The following images of the artist and his work come from the book Bram Bogart (ISBN 90 209 1567 3) by Francine-Claire Legrand and was published by Lannoo in 1988.

Images of Bogart's work below focus on his employment of the circle motif - - - 

All content of this post © The Bram Bogart Foundation ,and Uitgeverij Lannoo, Tielt and respective copyright holders.




Bram Bogart (1921 - 2012)
Photo by  Harry Shunk, 1984

Wednesday, April 29, 2020

Gary Giordano Confronts Fear and Dread in a Time of Pandemic



(Detail)


The paintings in Gary Giordano's new series come face to face with the anxiety-riddled moment of fear and loss we all find ourselves in.
The works confront this anxiety in the tradition of the Expressionist painters of Germany (both past and current)
and the series of prints known as the Miserere by Georges Rouault.











 Gary Giordano in his studio last year, Lambertville, NJ
Photo © Paul Behnke 2020


"The paintings are my response to the pandemic; to the situation we all find ourselves in.
I began painting what I thought the face of the disease would look like but sometimes the original
intention of a painting is dropped and maybe something else is resolved.
I don't always know what that is. I figure it out later.
These are dark but I think, in time, I may see them differently. It's something that you begin
and continue on with because you feel your circumstance and experience compel you to."

-Gary Giordano

Monday, April 27, 2020

Bill Jensen, Raindance (Drawing for Shaman)

Bill Jensen, Raindance (Drawing for Shaman), 1980-81
Egg tempra, gouache, pastel and charcol on paper
MoMA 
© 2020 Bill Jensen

This Bill Jensen drawing has always felt like arrested motion and time stopped to me.


Bill Jensen

Monday, February 17, 2020

Sensuality of Living: The Painting of Julian Bender



queens command, 2018, 7.5 x 5 in, oil on pine


Julian Bender is a painter living and working in New England.
Bender's paintings display a structural hierarchy of form and color. They eschew an all over composition in favor of an amalgamation of forms. When the imagery veers more toward the figurative a subject / ground relationship can start to become evident but the distinction can very quickly disolve, charging the surface with a satisfying ambiguity.


bdyfrgn, 2018, 8.5 x 5 in, oil on pine

atcq, 2018, 5 x 6 in, oil on cedar

From the Artists Statement:

My materials are pencil, crayon and oil stick on wood. I consider myself a student of the Canadian philosopher Marshall McLuhan. I
have been absolutely enthralled with his work for almost a decade and it has altered me deeply.
Recently I am most touched by the work of Ezra Pound. My favorite painter, at the moment is, Francisco Mendes Moreira.
In school I studied musical composition and am a music school drop out.
Things I relish include ritual, the sensuality of living and the immersions of awe in nature.
I am a timber framer by trade. And work in the tradition of mortise and tenon joinery.
As a result of that study Russian avant-garde piano compositions from the early twentieth century hold a special place in my heart
as do the spectraland aleatoric composers of the mid century.
Most of my painting supports are scraps from my framing work.
Painting is a relationship, a ratio betweenwhat is known and what goes unkown.
After becoming a father of two my painting practice shifted radically from working on large paintings for long stretches of time to painting on a small scale,
often finishing a painting in one or two nights. I bring everything to the easel, my whole boiling being. What I leave behind are gestalts of the moment,
or day or week; my own personal Rorschach.

- Julian Bender

Friday, February 14, 2020

Jeffrey Morabito at SFA Projects

Jeffrey Morabito: Birds and Flowers, Vases and Windows
On view through March 1 at SFA Projects


A detail from the precious image.
From the Press Release:
Dating back to 10th -century China, bird-and-flower painting is a genre of painting that consists not only of birds and flowers, but plants, fish, insects, dogs and cats.
Because of his multiracial heritage, residing in many different countries through his career, Morabito’s artistic identity is deeply grounded in both the Chinese and Italian traditions. As both cultural insider and observational voyeur, Morabito is compelled to reexamine said traditions to find new modes of deconstruction, examination, and interpretation. Why is a flower important when placed side by side with an animal? Is it a symbol of personal or universal beauty? Can quotidian modern objects like tennis balls be recast as a stand in for the flower in contemporary life?
Morabito recreates the bird-and-flower genre by seeing objects as pictorial containers, as vases and windows. His compositional parameters highlight the juxtaposition of what is inside, outside, far, close, clear, obstructed, real or fake. He provokes viewers to question the view represented on the canvas; is it a window looking outside or something deeper looking inward? His impasto surfaces push our visual perspectives to the limit by examining how we determine what is artifice in imagery today.
Acclaimed art historian Karen Wilkin describes the amalgamation of Morabito’s multicultural experience, saying “his extended experience of diverse places and cultures, with their often radically varied qualities of light, geography, rhythms, routines, customs, and odors – among many other things, including different languages and alphabets – all resonate within his paintings, but not in ways that we might expect.”
Considering a future of growing multiplicity and terrifying reduction, Birds and Flowers, Vases and Windows explores the significance of the past while carefully eyeing our uncertain future. 



Born in Bronxville, half Hong Kong-ese and half Italian, Jeffrey Morabito spent his early years traveling between New York and Hong Kong. He returned to Asia in 2006, to apprentice with a calligraphy master in Seoul, South. Korea. This allowed Morabito’s painting to be reevaluated into its most basic elements of individual brush strokes. He then spent six years in Beijing, beginning with a Red Gate Gallery Residency, in 2009, while teaching art at Capital Normal University. Morabito returned to New York in 2016 to pursue an MFA at the New York Studio School of Drawing, Painting, and Sculpture, while also founding JMN Artists, a curatorial collective, which has produced three shows in New York.
Morabito has exhibited in “Art Beijing;” International Art Fair and Matthius Kupper Gallery, Beijing, China; N-Space and Jay Gallery Seoul, South Korea; Rosenfeld Gallery Philadelphia; Projektraum Knut Osper, Cologne, Germany; and in Eric Firestone Loft, SFA Projects and M.David & Co., New York. In 2019, he had a retrospective of his work entitled “Glossolalia” curated by Karen Wilkin at 1 GAP gallery.
A recipient of the Art Cake Studio Program, he currently works in Sunset Park, Brooklyn.