Structure and Imagery

  Winter Dreams of Summer ,  gouache on shaped rag board  Caryatid ,  gouache on shaped rag board  Chocolate Snowgal ,  gouache on shaped rag board Out of Time , gouache on shaped rag board Gone Fishing: New Works by Heidi Pollard Through March 28, 2015 Outpost Performance Space 210 Yale SE Albuquerque, NM 

Centotto 250 Moore Street #108 Brooklyn, NY 11206

  Romance (Emilio Cruz Could Be Tender) , 1991 Acrylic and paper collage on canvas 50 x 36 inches   Men and Machines V , 1966 Acrylic and paper collage on canvas 30 x 50 inches   Money Mad , 1988 Acrylic and paper collage on canvas 26 x 30 inches   Night Visitors , 1988 Oil on canvas 24 x 30 1/8 inches From the Press Release: The exhibition and its accompanying publication focus on two bodies of Drexler’s work—her uniquely prescient, Pop collage-paintings from the 1960s and a group of related works created between 1988 and 2014. A pioneer of what would later become known as appropriation, Drexler’s paintings from the 1960s incorporate images culled from a variety of popular sources—newswire photographs, detective novels, movie posters, and advertisements. Unlike her Pop contemporaries, Drexler worked from these images directly—collaging them onto her canvases and painting over them in thin layers. Her subjects are s...

Franz Kline, Herald , 1954. From the blog post Paul Covers / Franz Kline  on Nothing But Good, Nov. 15, 2014. I've recently added a new blog to my Art Blog roll located at the very bottom of this page. On Nothing But Good invited artists show they stand in a tradition by expressing their commitment to an inspiring, no longer living, predecessor. Nothing But Good Should be Said of the Dead; A collaborative project by  Michael de Kok, René Korten and Reinoud van Vught.   A lot of great stuff so check it out when you get a chance.

Eliot Markell's Red Stencil  Eliot Markell: Imaginary Sculptures  A Project Room * solo installation of works on paper. On view through Mar. 15, 2015. Drawing Rooms 180 Grand Street Jersey City, NJ 07302 * Also on view:  Nine solo exhibitions in drawing, painting, print and installation, featuring Terri Amig: Mercury and the Little Mysteries, Enrico Gomez: Paper Works, Lisa Ficarelli-Halpern: Chamber Pieces, Eileen Ferara: Estuary, Jaz Graf: In Other Words, Carol Radsprecher: We’ve Escaped the Studio!, James Prez: Bird(s) on a Wire, and Max Velez: Faces.

Judy A Saslow Gallery

Hans Hofmann: Late Paintings Copyright © 1988 The Tate Gallery cover image: Flowering Swamp , 1957, (detail) An Appreciation by John Hoyland I first saw the paintings of Hans Hofmann in 1964 at the Kootz Gallery in New York. Clement Greenberg the American critic had kindly offered to show Paul Huxley and me around some of the New York galleries. It was our first visit to the USA and I remember he introduced us by saying 'I've got a couple of sharp shooters here from London'. I found this flattering (but I don't know if it was meant to be). We went initially to the Andre Emmerich Gallery and looked at paintings by Morris Louis and Kenneth Noland, both were slightly familiar from an article Greenberg had written for Art International in 1961 and Louis had shown at the ICA in 1959 and at the Knoedler Gallery in 1963, but I had not seen very many. I was keen on both but had more trouble agreeing with Greenberg on the quality of all the Nolands. Clem said, cha...

Amy Sillman ,  Williamsburg Portraits , 1991 -92, ink, gouache, pencil on paper 11 x 8 in. each From the Press Release: During a recent studio visit with  Katherine Bradford , we were looking at her work for our upcoming exhibition and discussing our frustration about how painting was not represented in the recent survey show at the Brooklyn Museum, entitled, “Crossing Brooklyn: Art from Bushwick, Bed-Stuy and Beyond”.  We looked at each other and said (I don’t remember who said it first), “Brooklyn is the painting capital of the world”. Yep, there it is, it’s out there. During one of our conversations,  Irving Sandler   told me that   at this moment there are more painters and more painters with serious studio practices in Brooklyn than in any place in the world, and many of the most important contemporary galleries and museum shows feature works by Brooklyn painters. Part II of  Back to the Future  will focus on some of the ...

Willem de Kooning at the exhibition "Modern Art in Advertising" sponsored by Container Corp. at The Art Institute of Chicago, 1945, with  The Netherlands , 1945 Photographer: Gordon Coster © Time & Life Pictures/Getty Archives Willem de Kooning at the Sidney Janis Gallery, June 15, 1959, leaning on  Lisbeth's Painting , 1958 Photographer: Arnold Newman © Arnold Newman Properties/Getty Images   Willem de Kooning at the Sidney Janis Gallery, June 15, 1959 Photographer: Arnold Newman © Arnold Newman Properties/Getty Images   De Kooning at Black Mountain College, 1948 photographer unkown

Jan Holthoff: Shaping the Indeterminacy and Abstract Strategies  (curated by Jan Holthoff) Opening Friday, March 6 , 7 PM March 6 - April 19, 2015 Galerie Schütte

Work by Alex Paik (left) and Debra Ramsay From the Press Release: Tiger Strikes Asteroid New York is pleased to present  Generative Processes , featuring the work of Alex Paik and Debra Ramsay. The exhibit highlights shared elements within their practices and cites the particular manifestation of each. The work operates on an intimate and humble level, combining the abstract and cerebral with grace and humor. While their color palettes generate an immediate sense of relationship, Paik arrives at his intuitively, while Ramsay’s is system-based. The artists share a generative process of making, a cultivation of a standardized element that is repeated and worked. In Alex’s case, it’s a geometric form, a unit that he multiplies and folds, orients or otherwise uses again and again to make the work. Debra walked a specific trail, collecting colors every hundred steps via photographs, once each season, generating a palette of 72 distinct colors that were worked in ...

From the Artist: A week and a half ago I visited two paleolithic caves in the Dordogne, Font-de-Gombe and Les Combarelles.  The artists in those caves had created their images by utilizing coincidental outcroppings and recesses in the caves that looked like forms they wanted to paint or carve--a bump in an overhang became a bison's head or a horses haunch.  At Puccs I started pulling casts from the space itself.  I felt that by making objects that derived from the textures and spaces of the gallery, I might draw out the beings or entities that resided in the place itself.  I then started going into the pieces, carving them or painting them, in an effort to move past the pure formalism of the shapes and their process.  On the largest freestanding piece I carved the face of a bison I had seen in Font-de-Gaume, itself a series of lines and circles that thad been inscribed in a round piece of stone in a cave. Will Corwin is a scul...