Willard Boepple @ Lori Bookstein

Willard Boepple, Inside Out, 2014, aluminum, 84 x 43 x 23 1/2 inches

From the press release:

This exhibition will be comprised of recent sculptures from the “Trestles” series. Karen Wilkin writes of the work: 

Boepple approaches architectural scale in these shambling, animated constructions, which at once evoke industrial artifacts and creatures able to move under their own power. The delimiting frameworks of the “Looms” and “Trestles” and the instantly recognizable supports of the “Ladders,” have here been subsumed by loose-jointed assemblies of linear elements that seem potentially mobile. At the same time, we are aware of the industrial underpinnings of these exuberant sculptures, faint echoes of utilitarian objects constructed with iron beams that return us to the origins of Boepple’s approach to sculpture, when Picasso and González, for the first time, made works of art using the same techniques that were used to build motorcars and tall buildings. [1]

This exhibition will coincide with the release of a new monograph of the artist published by Lund Humphries. Willard Boepple Sculpture: The Sense of Things is written by Karen Wilkin with a forward by Michael Fried. The publication will be available for purchase from the gallery.

Willard Boepple was born in Bennington, Vermont in 1945, and grew up in Berkeley, California. He studied at the Skowhegan School of Painting and Sculpture (1963), the University of California at Berkeley (1963-64), RISD (1967) and CUNY City College (1968). After teaching at Bennington College and the School of the Museum of Fine Arts in Boston, he returned to New York, where he has lived for over thirty years. He has exhibited widely here and abroad, at galleries including Acquavella, André Emmerich, Tricia Collins and Broadbent Gallery, London. His work belongs to such noted institutions as the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, the Storm King Art Center and The Fitz William Museum in Cambridge, UK. Boepple served as chairman of the Triangle Artists' Workshop for twenty years, an artist residency program which he helped replicate in Africa and the Caribbean. 

[1] Wilkin, Karen. “Openness and Transparency: Ladders and Looms, Towers and Trestles,” Willard Boepple Sculpture: The Sense of Things. Farnham, Surrey, United Kingdom: Lund Humpries, 2014. p. 69. 


Image courtesy of Lori Bookstein Fine Art


Willard Boepple: Sculpture
through December 20
Lori Bookstein Fine Art
138 10th Avenue
New York, NY 10011

Eve Aschheim @ Lori Bookstein Fine Art

From the Press Release:

Eve Aschheim’s latest body of work is marked by the artist’s expanding exploration of color, by her deepening engagement with non-Euclidean geometry and by her
further extension of Kazimir Malevich’s interest in the fourth dimension toward elusive and shifting perceptual states. Fractured and reconfigured pictorial spaces are
articulated by vibrant hues ranging from ice blues and acid greens to strident yellows and bright magentas. The artist’s use of color not only broadens her pictorial
vocabulary to further inform her compositions, but she also uses color to create specific sensations and atmosphere. Color is used in different ways in these new
paintings. In a single painting, this can include high key colors that interact with neutral color areas, flushes of transparent color that simultaneously appear to move
forward and backward through pictorial space, and color that is suggestive of light.
Indicative of the artist’s interest in states of transition, Aschheim’s work is often marked by a sense of implied motion. Pictorial structures seem to disassemble, come
together and reform. The result is a dynamic fictive reality that exists between multiple states of visual constructions, allowing the viewer the opportunity to see one
image, and then another without being able to settle on a final picture. In an interview with John Seed from 2013, Aschheim revels her interest “in that moment before
thought has fully coalesced, when the choices are like a glimmer of some possibility.” [1]
Eve Aschheim (b. 1958, New York) received her BA from the University of California, Berkeley and her MFA from the University of California, Davis. Aschheim is a
lecturer in the Lewis Center for the Arts at Princeton University, where she has taught full time since 2001. A recent John Simon Guggenheim Memorial Foundation
fellow, the artist has also received grants from the Joan Mitchell Foundation, the National Endowment for the Arts, the New York Foundation for the Arts, the Pollock-
Krasner Foundation, the American Academy of Arts and Letters, among others. Her work has been exhibited internationally, including solo shows at the Bannister
Gallery, Rhode Island College, the New York Studio School, Skidmore College, Saratoga Springs, NY, and the Weatherspoon Art Museum, Greensboro, NC.  

Eve Aschheim
Through April 19, 2014
Lori Bookstein Fine Art
138 10th Avenue
New York, NY 10011

Eve Aschheim @ Lori Bookstein Fint Art

Steel and Soaking, 2013, oil and graphite on canvas on panel, 18 x 14 1/4 in.

Eve Aschheim

Opening: march 20, 6-8 PM

March 20 - April 19, 2014

Lori Bookstein Fine Art

138 10th Avenue

New York, NY 10011

Jan Müller @ Lori Bookstein

From the Press Release:

This exhibition will focus on the late, monumental works of Jan Müller [1922-58], painted in the final years of his short life. The presentation of Müller’s pivotal Faust works- Walpurgisnacht- Faust I (on loan from the Museum of Modern Art), Walpurgisnacht- Faust II, The Chorus of Angels (from the estate of the artist), andThe Temptation of St. Anthony (on loan from the Whitney Museum of American Art) - will make the most significant gathering of Jan Müller’s work in over 25 years, as well as proffering a new opportunity to reflect on Müller’s expansive sources of inspiration.

Jan Müller used the themes he found in literature as a point of departure: painting only what concerned him, he created aggregate visions of his own experiences and ailments, both physical and metaphysical. The story of Faust, replete with characters of uncontrolled ambition and surrendered moral integrity, was of particular fascination to Müller who began to reconcile his own impeding mortality in the late fifties. Fitted with a plastic pace-maker at the age of 31, the audible ticking of the mechanism served as impetus for his feverish artistic output. However, Müller was not attracted to the romantic hero or by the unfolding plot of the Faust story, but rather, his concentration lie in the figures of angel chorus and the possessed individuals of Walpurgisnacht. Or, as Meyer Schaprio so eloquently states, "the counterparts of the divine and the demonic in anonymous humanity."

Jan Müller was born in Hamburg, Germany in 1922. His father was a political activist who fled from Hitler in the 1930s, emigrating with his family to the U.S. in 1941. Müller studied painting under Hans Hofmann from 1945-50. In 1953, Müller underwent heart surgery to replace a faulty valve with a plastic one that ticked audibly. This constant reminder of the passing of time is perhaps, in part, responsible both for the fury with which he painted until his death in 1958 and the urgency with which he made the radical and courageous shift from abstraction to figuration. Müller was largely ignored by the art world until 1957, when the Museum of Modern Art purchased Walpurgisnacht- Faust I from his exhibition at the Hansa Gallery (of which he was a founding member); soon after, The Whitney Museum hung his work in their “Young Americans” exhibition and he began to find his way into a number of museums and private collections. 

Faust and Other Tales: The Paintings of Jan Müller

May 3 - June 23, 2012

Lori Bookstein Fine Art

138 10th Avenue

New York, NY 10011