Structure and Imagery

Leon Kossoff: London Landscapes On view through December 21, 2013 Mitchell - Innes & Nash 534 West 26th Street New York, NY 10075   Larry Poons: Geometry + Dots 1957 - 1965 On view through December 14, 2013 Loretta Howard Gallery 525-531 West 26 Street New York, NY 10001 (Above works by Anne Russinof) Disposition : Gregory Hayes & Anne Russinof On view through January 3, 2014 Blank Space 511 West 25th Street Ste 204 New york, NY 10001 Sean Scully: Night and Day On view through January 11, 2014 Cheim & Read 547 West 25th Street New York, NY 10001 Matthew Blackwell: Picklelilly: Recent Painting and Sculpture October 17 - November 30, 2013 Edward Thorp Gallery 210 Eleventh Ave 6th Floor New York, NY 10001

(click to enlarge) Loretta Howard Gallery 525-531 W 26th Street New York, NY 10001

Studio view of new works Studio view The Brooklyn based artist, Brooke Moyse , is one of my favorite painters working in New York today. While her work could be cited as an example of Bushwick's recent New Casualist esthetic, the formal qualities of Moyse's painting have been evolving steadily, into a studied offhandedness, for some years.  The quick appearance of her paint application is butted against a sophisticated palette, and accute sense of composition, that lend an air of urbanity to Moyse's paintings.  These varied, formal contrasts, along with the ambition and scale of much of her work,  make her seem right at home in the current group show at Loretta Howard Gallery in Chelsea. In DNA: Strands of Abstraction , she shares wall space with Kline, Motherwell, Frankenthaller, Poons and Rockburne without missing a beat. In the latest entry, for the In Process series, I am happy to present the development of one of Moyse's recent p...

From the exhibition essay by Sol Ostrow: In the 1950s, with the triumph of the New York School, the United States for the first time in history had produced visual art of international consequence. Yet, artists from the United States and from all over Europe continued to flock to Paris just as the center of the western art world was shifting to New York,. Funded by the GI Bill, those from the States came with the intent of studying at such schools as the Académie Julian, Académie de la Grande Chaumièr and L’ecole des Beaux Arts, or at the atelier of Jacques Villon or Fernand Leger’s Studio. Their reasons varied. Some saw it as an opportunity to be cosmopolitan or to satisfy their wanderlust; others may have imagined the Paris of Le Jazz Hot, café society, and the romance of the pre-war avant-garde, or the chance to see works by Vuillard, Bonnard, Matisse, etc., that they knew only from black and white reproductions. In most cases the wom...