Structure and Imagery

  David Pollack with paintings from his Harbor series, in his studio in Red Hook, Brooklyn. Photo: Denise Sfraga Let the Painting Build Itself: An Interview with David Pollack by Paul Behnke Paul Behnke:  Well, let's start at the beginning. Would you talk a little about your background? What set you on the path your work is on? You have gone through several overlapping stages since I've been acquainted with your work. David Pollack:  Growing up my dad was a landscape architect but I think he wanted to be a painter too. He was an amazing draftsman and could draw anything. So, that's where my tree imagery comes from. He used to draw trees all the time and they used to hang in my house. And he actually received a Rome Prize where you go to Rome for a year and they give you a studio set up. PB: That's the prize Philip Guston was awarded. Right? DP: That's what I was about to say. Guston was there when my dad was there. So I was around it as a kid and I tried to draw li...

Loverman (the Guardian), 2020, acrylic on canvas, 18 x 18 in. New in the studio: Small works concentrating on formal elements, dissolution of form, and broken color. Monument to Clairvoyance, 2020, acrylic on panel, 16 x 12 in. Study for an Imaginary Monument, 2020, acrylic on panel, 16 x 12 in. Dark Monument, 2020, acrylic on panel, 16 x 12 in. Monument to People Who Did Right, 2020, acrylic on panel, 16 x 12 in. * All works  © Paul Behnke 

  Amy Sillman: Twice Removed Through November 14, 2020 web Gladstone Gallery 515 W 24th Street New Tork, NY From the Press Release: Dear Reader,        The time we’re living in is crazy, horrible, almost medieval with disease, increasing police brutality and militarization, diminishment of democratic rights, and the upcoming ledge of a terrifying election. I was supposed to have a show of drawings and paintings last May at Gladstone and titled it “Twice Removed”: " twice " to propose the idea of a multiplied subjectivity, being of two minds, forked paths, and having allegiances to both subject and object, thinking and feeling, abstraction and figuration, form and content, dialectics and contradictions; " removed " because my paintings are built through negation, a kind of violent erasure, scraping down, undoing, getting rid of. But  twice removed  was also a pun on the family relation, being adjacent to something older. I’m a knight’s move away from th...

Self Portrait, 2020, oil on canvas, 160 x 160 cm. Patrick Graham: Interitus On view through Nov 7, 2020 Hillsboro Fine Art 49 Parnell Square West Dublin, Ireland ( web )    Facebook     Instagram Installation view, Hillsboro Fine Art, Dublin. Installation view, Hillsboro Fine Art, Dublin. Patrick Graham: Thirty Years - The Silence Becomes the Painting A Film by Eric Minh Swenson

  Installation view,  Julian Schnabel: The Sad Lament of the Brave, Let the Wind Speak and Other Paintings,  Sep 18 – Oct 24, 2020, Pace Gallery, New York © Julian Schnabel Julian Schnabel: The Sad Lament of the Brave, Let the Wind Speak and Other Paintings Through October 24, 2020 PACE  510 W 25th Street New York, NY ( web )

  Jeffrey Morabito, My Name is Jack, Part of the Lost Pet Series begun during the COVID-19 lockdown. Jeffrey Morabito : Open Studio  By Appointment Only Fri, Sat and Sun, Oct. 16th - 18th, 2020 Please dm to RVSP . A limited amount of people are allowed in at a time. A mask must be worn. Hand sanitizer provided.

  David Pollack, Summer Rainstorm (Ascend) 2020, watercolor on paper, 11 x 15 in. David Pollack: New on Paper Since COVID-19 October 11 - November 10, 2020 Monklike Habits | online project space ( view ) From the Press Release: "The new work presented here is a response to, and an interpretation of, nature and the awesome sway it exerts on us. These modest and elegiac watercolors allude to a feeling of beautiful helplessness that we often experience in response to the seemingly arbitrary acts of nature, and by extension, to our times. But the paintings also support an underlying humanity - a joining with (in death?), or perhaps a transcendence from, an irrational, subjective megacosm. This ingredient, more than anything, confirms the poetic sensitivity in the work."

  Melissa Staiger , Connection 2 Ways, 2017, 24 x 12 in. Rhia Hurt , Pretty in Peach, Reflecting Pool Series, 2018, acrylic and watercolor on paper, 14 x 11 in. Lee Krasner Blurring Boundaries: The Women of American Abstract Artists, 1936-Present (info) South Bend Museum of Art 120 South Dr. Martin Luther King Blvd. South Bend, IN 46601 info@southbendart.org From the Press release: October 17, 2020 – January 3, 2021 Warner Gallery Opening Reception October 16, 2020, Donor Reception 6:00 – 7:00 p.m. Public Reception 7:00 – 9:00 p.m. Artist Talk with Jamea Richmond-Edwards at 7:15 p.m. The  Robert C. Shields   American Series  is an annual event that shares, with our regional audience, the rich art history and culture of our nation. Represented in these exhibitions are many of the key artists and artistic movements responsible for creating an American art legacy. This will be the 13 th  year we have offered this series and it continues to gain momentum and respect...

  Kali Poem #52 (Vanishing Time ||), 1987-89 Ann Purcell: Kali Poem Series October 15 - November 14, 2020 view exhibition  | view catalog For pricing information email: info@berrycampbell.com Berry Campbell 530 W 24th Street New York, NY 10011 Tuesday - Saturday, 10 am - 6 pm COVID-19 precautions will be observed. Kali Poem #24, 1986 PRESS RELEASE FOR IMMEDIATE RELEASE BERRY CAMPBELL GALLERY PRESENTS ANN PURCELL: KALI POEM SERIES   NEW YORK, NEW YORK, SEPTEMBER 22, 2020 –  Berry Campbell Gallery is pleased to announce an important exhibition curated from Ann Purcell’s “Kali Poem” series.  For Purcell, the desire to achieve more spontaneity led to this series, which she started in 1983 and is ongoing.  She notes: “For the first time in my work, it was not out of joy, but from some other place, some other sphere. They just seemed to appear.” However, Purcell knew they had a meaning, and the answer came to her from a poem: May Sarton’s “The Invocation to Kali,...