Wednesday, December 30, 2015

Lost Cat at the Cape Cod Museum of Art

Brian Edmonds, A Little Rage is Good, 2015

A group exhibition curated by Betty Carroll Fuller and Susan Carr featuring work by: Andre van der Wende, Anne Flash, Ayn S. Choi, Bailey Bob Bailey, Bernard Klevickas, Bert Yarborough, Betty Carroll Fuller, Bonny Leibowitz, Breon Dunigan, Brian Edmonds, Carole Ann Danner, Colleen Deery, Damien Hoar de Galvan, Dennis Masback, Elizabeth Gourlay, Ellen Rich, Emily Auchincloss, Eric Hibit, Farrell Brickhouse, Frankie Gardiner, Gerry McLean, Helen O’Leary, Irene Lipton, James Austin Murray, James Balla, Jan Lhormer, Jody Morlock, Joe Diggs, Judy Rifka, Julie Torres, Katherine Bradford, Liza Bingham, Maddy Rosenberg, Mark Milroy, Michael Ballou, Michael Ricardo Andreev, Noe Jimenez, Ola Manana, Pam Glick, Paul Bowen, Peter Reginato, Peter Williams, Polly Schindler, Robert Henry, Sue Post, Susan Breen, Susan Carr, Susan Lyman, Susan Rostow, Valerie Brennan, Vicky Tomayko, Wendy Klemperer and Zehra Khan.

On view through January 17, 2016.

Cape Cod Museum of Art

Wednesday, December 23, 2015

Matthew Wong Ink and Watercolor on Paper

Matthew Wong, Untitled, 2015, ink and watercolor on paper, 16 x 20 in.

Also of interest:

Patrick Procktor: The Last Romantic at Arts University Bournemouth

 Patrick Procktor photographed in 1968. © The Redfern Gallery, London.

Patrick Procktor: The Last Romantic
Curated by Dr. Ian Massey
January 14 - February 25, 2016
The Gallery, Arts University Bournemouth

From the Press Release

The artist Patrick Procktor RA (1936-2003) first came to prominence in 1963, when his first show opened at The Redfern Gallery in London. Both critically acclaimed and a near sell-out, the show launched him as a star of the Sixties art scene: remarkable given that he had graduated from the Slade School of Fine Art less than a year before. With his friends David Hockney, Ossie Clark and Celia Birtwell, Procktor became part of a bohemian circle, one that reinvented modernity, seizing glamour as a liberating force at a time when, in cultural commentator Peter York’s phrase, ‘Style became a weapon to forge your own legend.’ Renowned for his camp theatricality and rapier wit, the charismatic Procktor formed many friendships, amongst them Cecil Beaton, Christopher Gibbs, Gilbert and George, and Princess Margaret. He painted and drew portraits of many luminaries of the era, such as rock star Mick Jagger, playwright Joe Orton, and the actor Jill Bennett. He travelled widely in Europe, India, China and Egypt, painting wherever he went.

Dr. Ian Massey, Curator: Dr. Ian Massey is an art historian, writer and curator. He is the author of the monograph biography Patrick Procktor: Art and Life (2010) and co-author with Anthony Hepworth of Keith Vaughan: The Mature Oils (2012). Both publications were authorised by the artist’s Estates, and have been acclaimed widely, garnering international media coverage and reviews. Amongst other artists Ian has written about are the painters Trevor Bell, Sandra Blow, John McLean and Fraser Taylor. Publications for which he has written include Sight and SoundPN Review,Printmaking TodayVaroom and Visual Culture in Britain; he writes also for the Public Catalogue Foundation. He has curated exhibitions in Glasgow, Huddersfield and Manchester.
Ian has lectured widely, giving public talks on his research in London, Edinburgh, Manchester and St Ives. For many years he taught in university art and design departments, before going freelance in 2014; he is currently working on a book about twentieth century St Ives artists.

Tuesday, December 15, 2015

Artists Talk: The Violent Study Club at Stout Projects

Vincent Como, Trismegistus, 2012, oil on canvas over board (in three parts), 49.375 x 49.625 inches overall. (Courtesy of Minus Space)

The Violent Study Club: In Conversation with the Artists

Please join us for an informal conversation with the artists from our current exhibit, The Violent Study Club.

Participating artists Vincent Como, Jonathan Cowan and Debra Ramsay will discuss and answer questions about the concepts underpinning their work and studio practices.

Saturday, December 19, 2p

From the Press Release:

Earlier this year a group of artists began to meet and discuss books, essays and interviews that relate to and explore the ideas of spiritualism and the mystic as they influenced Modern and Contemporary artists and the works they made.

Soon it became apparent that four members of this group (The Violent Study Club) produced work that not only explored the afore mentioned themes to varying degrees but also shared similar aesthetic interests that would form the basis of a formidable exhibition; an exhibition based less on the group’s chosen subject of study and more along common formal relationships that forge striking bridges from work to work and artist to artist.

Karen Baumeister was born in Philadelphia, PA and received her MFA from the Pennsylvania Academy of Fine Arts. She has exhibited widely in Philadelphia and New York and has served as a mentor, guest critic, and juror at venues including Bucks County Community College and The Woodmere Art Museum.

Vincent Como (b. 1975, Kittanning, PA; lives in Brookyn, NY) works in a broad array of media, including installation, painting, printmaking, and artist books. The subject of his artistic practice is the color black, which he describes as “the pure and unrepentant mark of information…both the origin of recording thoughts and the fully saturated realization of all pigment as one”. His work draws on ideas from art history, color theory, philosophy, physics, alchemy, heavy metal, religion, and mythology. Como has exhibited his work throughout the United States, including in New York, New Jersey, Kansas City, Chicago, Boston, Salt Lake City, and San Francisco among others. He holds a BFA in Drawing from the Cleveland Institute of Art, is represented by MINUS SPACE in Brooklyn, and is one of the co-directors of TSA New York, an artist run exhibition space.

Jonathan Cowan was born in Temple, Texas. He received his Bachelor of Fine Arts in drawing in 2006 from The University of Texas at San Antonio. His work has been exhibited in solo shows in New York and San Antonio and in group shows in New York, Newark, and Houston, Texas.

Debra Ramsay is an abstract artist working in the disciplines of painting, drawing and installation. She maintains a full time studio practice in New York City. Ramsay was awarded a 2016 residency at the Albers Foundation, a 2013 residency at the Golden Foundation in New Berlin, NY and in 2012 a fellowship at BAU Institute in Otranto, Italy. Ramsay’s 2015 exhibitions include a two-person show at TSA NY Gallery in Brooklyn and a group exhibition at Pentimenti Gallery in Philadelphia, PA. Her 2014 exhibitions included Hansel and Gretel Picture Garden Pocket Utopia in Chelsea, NYC and The Visual Arts Center of NJ, Summit, NJ. In 2013 she had a solo show titled MAT/tam, curated by Lucio Pozzi at Palazzo Costa, in Mantova, Italy. 

Thursday, December 10, 2015

Cops at Tops

Paul Edwards


December 12th - February 6th

Opening reception Saturday December 12th 6-8pm

Participating artists: Marlous Borm, David Deutsch, Paul Edwards, Leo Fitzpatrick, Kevin Ford, Stephen Lack, Lester Merriweather, Scott Reeder, Walter Robinson, Tom of Finland and Ernest Withers.


Tuesday, December 8, 2015

Monday, November 30, 2015

Recent Work in the Studio

Vision: Angel with Third Eye, 2015, acrylic on panel, 10 x 8 in.

Son of the Morning, 2015, acrylic on panel, 7 x 5 in.

O Day Star!, 2015, acrylic on panel, 7 x 5 in.

Vision 2: Green Angel, 2015, acrylic on panel, 10 x 8 in.

Eye of Agamotto, 2015, acrylic on panel, 7 x 5 in.

Einhorn, 2015, acrylic on panel, 7 x 5 in.

All paintings © Paul Behnke

Violent Storm

Käthe Kollwitz, Tod and Frau (Death Seizing a Woman), 1910, 17 1/2 x 17 in. Etching on paper. Pomona College Collection. Gift of the Culley Collection

Violent Storm  by Mark Strand

Those who have chosen to pass the night
Entertaining friends
And intimate ideas in the bright,
Commodious rooms of dreams
Will not feel the slightest tremor
Or be wakened by what seems
Only a quirk in the dry run
Of conventional weather. For them,
The long night sweeping over these trees
And houses will have been no more than one
In a series whose end
Only the nervous or morbid consider.
But for us, the wide-awake, who tend
To believe the worst is always waiting
Around the next corner or hiding in the dry,
Unsteady branch of a sick tree, debating
Whether or not to fell the passerby,
It has a sinister air.
How we wish we were sunning ourselves
In a world of familiar views
And fixed conditions, confined
By what we know, and able to refuse
Entry to the unaccounted for. For now,
Deeper and darker than ever, the night unveils
Its dubious plans, and the rain
Beats down in gales
Against the roof. We sit behind
Closed windows, bolted doors,
Unsure and ill at ease
While the loose, untied wind,
Making an almost human sound, pours
Through the open chambers of the trees.
We cannot take ourselves or what belongs
To us for granted. No longer the exclusive,
Last resorts in which we could unwind,
Lounging in easy chairs,
Recalling the various wrongs
We had been done or spared, our rooms
Seem suddenly mixed up in our affairs.
We do not feel protected
By the walls, nor can we hide
Before the duplicating presence
Of their mirrors, pretending we are the ones who stare
From the other side, collected
In the glassy air.
A cold we never knew invades our bones.
We shake as though the storm were going to hurl us down
Against the flat stones
Of our lives. All other nights
Seem pale compared to this, and the brilliant rise
Of morning after morning seems unthinkable.
Already now the lights
That shared our wakefulness are dimming
And the dark brushes against our eyes.

Alfred A. Knopf, 2007, 267 pages
ISBN 0307262979, 9780307262974

Melissa Staiger at Trestle Gallery

Melissa Staiger, Built to Spin, 2015, mixed media on panel, 20 x 16 inches.

Melissa Staiger: Push with the Tide
curated by Katerina Lanfranco

Opening Reception: Sunday December 6, 6 - 9 p

Trestle Gallery

Wednesday, November 25, 2015

Devotion Co-Curated by William Corwin at Catinca Tabacaru Gallery

Clockwise: 17th century icon, artist unknown, Will Corwin, Justin Orvis Steimer, Gail Stoicheff, Elizabeth Kley (wallpainting) Rachel Monosov.

Clockwise: Roxy Paine, Rachel Monosov, Carin Riley, Rico Gatson, Elizabeth Kley (lanterns), Joyce Pensato (Elmos in back), Serra Victoria Bothwell Fels (Rood screen), Rico Gatson (throne), Mike Ballou (rug)

Clockwise: Rico Gaston, Elizabeth Kley (wallpainting and Lantern) Carin Riley, Rachel Monosov, Justin Orvis Steimer, Roxy Paine, Paul Anthony Smith, Kati Preti.
All photos courtesy David Riley

co-curated by William Corwin

featuring work by:  Mike Ballou, Joe Brittain, William Corwin, Serra Victoria Bothwell Fels, Elizabeth Ferry, Rico Gatson, Elisabeth Kley, Rachel Monosov, Roxy Paine, Joyce Pensato, Katie Bond Pretti, Carin Riley, Paul Anthony Smith, Justin Orvis Steimer, Gail Stoicheff and Sophia Wallace

Through January 17, 2015

Catinca Tabacaru Gallery

Monday, November 23, 2015

Contemporary British Drawing at the Xi'an Academy of Fine Arts

Rose Wylie

Contemporary British Drawing
featuring work by Karl Bielik, Lucian Freud, David Hockney, Rose Wylie and others.

Xi'an Academy of Fine Arts

Karl Bielik

Richard Gorman at Assab One

Richard Gorman, Untitled, 2015, oil on linen.
Ph. Salvatore Licitra

Richard Gorman: KAN

Assab One

Sunday, November 22, 2015

Chronicles in Wait: A Centotto interstizio exhibit at The Buggy Factory

Installation view with work by Nathaniel Lieb, Jack Henry and David Henderson.
Photo by George Gilliand

Chronicles in Wait
curated by Paul D'Agostino

A Centotto interstizio exhibit at the Buggy Factory


Histories concealed
within forms.

Discoverable in sutures,
molds, cavities.

Tales in hems,nooks
and holes.

In shadows of themselves.
Waiting to be told.

And heard.


Includes sculptures and sound pieces by David Henderson, Jack Henry, Oliver Jones and Nathaniel Lieb.

Last day to view: Today, Sunday, November 22, 4 - 8 p

Please check the link below for information on a closing reception to be announced.

View a short instagram video of the installation here.

Sunday, November 15, 2015

William Perehudoff: A Retrospective at Berry Campbell

William Perehudoff, AC-81-039, 1981, acrylic on canvas, 53 1/3 x 53 in.
Image courtesy of Berry Campbell and the William Perehudoff Estate

William Perehudoff: A Retrospective
On view through November 21, 2015
Berry Campbell 

Jill Levine: Wall Drawings at Hionas Gallery

Levine at work on her exhibit, Wall Drawings, at the Hionas Gallery on the Lower East Side, November 2015. Photo courtesy of Hionas Gallery.

Jill Levine: Wall Drawings
On view through December 6, 2015
Hionas Gallery


Saturday, November 14, 2015

Some Skeletons from Georges Rouault's Miserere et Guerre

Georges Rouault, Paris, 1957 by Arnold Newman

"For me, painting is a way to forget life.
It is a cry in the night, a strangled laugh."

"Nothing is old, nothing is new, save the light of grace underneath which beats a human heart. The way of feeling, of understanding, of loving; the way of seeing the country,
the faces that your father saw, that your mother knew.
The rest is chimerical."

Georges Rouault's Miserere
The series of prints known as the Miserere by Georges Rouault (1871-1958) was commissioned originally as one of numerous, illustrated book projects conceived by the Parisian dealer Ambrose Vollard (1865-1939), who after 1916 functioned as the artist's sole agent and employer. To be titled Miserere et Guerre the proposed two volumes, each with fifty prints by Rouault and text by his friend, the poet Andre Suares (1866-1948), were never completed as planned. Suares, who contended that Vollard's treatment of Rouault was exploitative, withdrew from the project and advised the artist to limit the title to Miserere. As a result of the multitude of projects on which Rouault worked simultaneously and Vollard's shifting demands, only sixty-five of the 100 prints on which he worked between 1916-1917 and. 1920-1927 were completed. It was not until 1948 that fifty-eight of them were published in the definitive one volume edition of 450 copies at the Editions de I'Etoile in Paris.
In his preface to the Miserere, Rouault recounts that upon his submission of the preparatory ink drawings, he was asked by Vollard to use them as studies for paintings. Subsequently these paintings were photographically transferred onto copper plates for printing. In order to preserve the rhythm and design of the originals, the artist reworked each plate using almost every intaglio technique.' Throughout this lengthy process, working proofs were pulled during as many as fifteen consecutive trial states.
More than any other of his print series and illustrations, the Miserere folio conveys the artist's spiritual legacy of faith. The theme of human suffering that connects each single image in the portfolio relates closely to the artist's own spiritual outlook. It simultaneously provides an indictment of the spiritual crisis of Rouault's France, which found it's inception in an age marked by Nietzsche's nihilism, and culminated in a staunchly anti-clerical Republican government and the horrors of World War I.
Rouault moved among the members of the circle around the Catholic renewal movement, the Renouveau Catholique, which, in opposition to positivism and materialism, orientated itself towards a more orthodox Catholicism of the medieval past. The artist's religious outlook was strongly influenced by two major theosophists: Leon Bloy (1846-1917), whom he befriended, was a leading figure of the Renouveau Catholique and a disciple of the mystic Ernest Hallo (1828-1885); and Felicite Robert de Lamenais (1782-1854), a Catholic social revolutionary whose doctrines had been followed by Rouault's father and grandfather. Their social-mystic understanding of history as part of the suffering of God in Christ spiritualized social conditions and history itself. Rouault's work, therefore, does not aim at criticizing social conditions or at evoking pity, but invites the spectator to join in sharing all aspects of human suffering in order to find salvation and purification.
-Johann J.K. Reusch

Friday, November 13, 2015

Volume 2: Black and White at Schema Projects

Debra RamsayThe effects of a fold on a line, graphite. 8 inch square, Kozo paper, graphite, 2013

Volume 2: Black and White
Co-curated by Mary Judge and Enrico Gomez

With work by: David Ambrose, Etamar Beglikter, Jerry Birchfield, Astrid Bowlby, Amélie de Beauffort, Lorrie Fredette, Liz Jaff, Christopher Michlig, Gelah Penn, Debra Ramsay, Lauren Seiden, Matthew Shelley, Barbara Siegel, Renee van der Stelt, Allan Wexler and Etty Yaniv

This exhibit is one bookend of a two-part exhibition exploring the ways in which artists respond to paper and transform it from the 2 dimensional into the 3 dimensional in innovative and engaging ways.

Through December 6th, 2015
Schema Projects

Tuesday, November 10, 2015

Newly Added to Our Collection

William Douglas McGee, Stary Night, 1986, oil on paper and collage.

William Douglas McGee, Stary Night (detail)

William Douglas McGee, Stary Night (verso)

William Douglas McGee, Origin, 1991, oil on panel.

 William Douglas McGee, Origin (detail)

William Douglas McGee, Origin (verso)

 William Douglas McGee, Vessel, 1989, oil on canvas.

William Douglas McGee, Vessel (detail)

William Douglas McGee, Vessel (verso)

The Artist: William Douglas McGee 

Genesis Breyer P-Orridge, Untitled, 2002, Polaroid.

The Artist: Genesis Breyer P-Orridge

Friday, November 6, 2015

Russell Floersch: Unseen at 57W57 Arts

Field, 2011-12, acrylic, graphite and modeling paste on canvas and canvas collage, 17 x 19 in.

Saltbox, 2009-14, acrylic and modeling paste on canvas and paper mâché, 21 x 19 in.

From the Press Release:

57W57Arts is pleased to present “Unseen,” a solo exhibition of paintings by Russell Floersch. The title owes some of its meaning to several works that were begun twenty years ago and never exhibited. In our Waiting Room project space, Floersch shows for the first time, a group of small canvasses he characterizes as Reconstructions. Although most of these were begun in 1997, many have been completed in the last few years. They combine found photo fragments that are taped to the surface of small abstractions. Floersch uses a flat paint meant to evoke humble wall surfaces, and typically reworks paintings for several years­­­partly out of a restless search, and because he identifies with what Chantal Akerman might have meant by characterizing repetitive everyday acts and gestures as a “dailiness.” The Reconstructions share a pictorial commonality: a pair of cropped figures who make contact through their hands. Their titles are all prefaced with this thematic description: “Clasp.” Floersch strives for a naturalness in the final state of the work­­­as if the painting and its surface were something you might encounter in your everyday­­­especially as it relates to the build­up of paint through repeated application by a tradesperson covering a surface simply to protect it or introduce a different color.
In the Main Gallery of 57W57Arts, the focus shifts to more current work. Throughout this group, the repeated layering of thin applications of the same color results in a blanket­like surface, the small relief elements and their sharper features often obscured. “The works bear the accretion of many layers of paint, built up to become an index of the span of time, of memory, and of the act of making that each of them seeks to preserve. The objects of this makerly process become transformed in the process, as they oscillate in a twilight space between thing and image.” (Beth E. Wilson, “from Denim,” exhibition essay for Rooster Gallery, NY, April 2014)
Since the mid­1980’s Floersch has been interested in painting as labor; responding to and collaborating with objects and images, often of unknown authorship; and the notion of specific interior place as a subset of landscape.
Russell Floersch is represented by Rooster Gallery, NY.