Another weekly recap, for those that simply couldn’t follow along the past few days on our blog…“after the jump,” as they say.
Sam Gordon | Impossible Object, 2010; acrylic paint, spray paint, ink-jet iron-on transfer on sewn clothes and fabric remnants; 58 x 58” (Photo courtesy of Feature Inc)
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Ok, another week bites the dust. I admit I’m getting really worried that I’m running out of ways to introduce the Weekly Recaps. I mean, at some point, it’s going to get redundant, if it hasn’t already. Regardless of the lackluster introductions, the content of our blog is always changing, which means these recaps will ultimately never get old. Right?
We had contributions this week from 5 different contributors this week, including our own publisher, Steven Zevitas. He was able to grab some shots (not the best, but not bad for an iPhone) of his trip to Frieze and NADA last weekend. We might as well start there…Click here to see the full post, and click “more” below to see summaries of our other terrific posts from the week.
Jonathan Lasker at Cheim & Reid
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Munch’s “The Scream” sold for $119.9 Million this week! Equally as huge, we have extended the West Region deadline to this Sunday at Midnight, EST. Ok, maybe a stretch, but still news. If you’re located in AZ, CO, ID, KS, MT, ND, NE, NV, OK, SD, TX, UT, or WY, please apply now!
We also posted the much anticipated, “Must See Painting Shows” for the month of May. Do not miss these shows if they are in your region!
Moving on…Tons of stuff happening on the blog this past week. If you missed anything, after the jump we’ve made a nice little summary with links to all of the posts. Enjoy!
Juan Gomez | Canta el Satin, 2012, oil on canvas. 122 x 84 in
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Another full week on the blog. In addition to introducing our West Juror, Bill Arning, and reminding everyone to apply to the West Region competition by the April 30th deadline to avoid a late fee, we recommended two exhibitions and did a Q&A with past New American Paintings’ featured artist Marissa Textor (#97). After the jump, check out summaries of this week’s posts!
Marissa Textor | Trouble in Paradise, graphite on paper, 18″ x 16.5″
Ellen Caldwell, our LA Contributor, said in her post, “Her subjects vary, but she often creates images of pre- and post-destruction, conjuring an extreme sense of foreboding or impending devastation. Somehow this momentum she captures lingers with you as a viewer…” Simply put, we think her drawings are crazy-good. She has been on our radar for a while, and we were psyched to see her selected for issue #97 last year, chosen by juror Anne Ellegood. Learn more about Marissa Textor by reading the Q&A Caldwell did with the talented illustrator here.
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Ellen followed up her Q&A with a nice review later in the week. This time, she visited Jonas Wood’s solo show at the David Kordansky Gallery. She went so far as to say it was her favorite show of 2012! Be sure to see what left Caldwell feeling “shaken and stirred with a new interest in still lifes and a new fascination with Wood’s world.” Full Post
Jonas Wood, BBall Studio, 2012, oil and acrylic on canvas, 105 x 138 inches.
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Finally, Seattle Contributor, Erin Langner, stopped by Francine Sedars’s house-turned-gallery, to see paintings by Robert Storr and Denzil Hurley. Langner writes, “Without the priming experience of Hurley’s purely experiential paintings, it is hard to imagine a similar desperation for a reference point naturally accompanying [Storr's] S.P. #1, 2, 3, 4. Storr’s work is, in general terms, abstracted. However, Hurley’s works make the subtle details of Storr’s design more poignant and graspable. Conversely, the light, easy pace embedded within Storr’s series brings out the heavy, slowness of Hurley’s; moving between the two artists is the exhibition. This conscious exchange between the two sets of work is the show’s greatest success; these paintings percolate when left to talk amongst themselves, in their hilltop gallery, away from it all.” Read the full review here!
Robert Storr | S.P. #1,2,3,4, acrylic on linen on board, 2012, each 20” x 24”
Image courtesy of Francine Sedars Gallery.
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Stay tuned to the blog next week…Whitney Kimball reviews Four Paintings at Regina Rex, and Kansas City Contributor, Hallie Miller, discusses the work of artist Davin Watne. And, of course, much more!
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This week we mixed it up. There was a poll, a few reviews, and a feature on the Culver City Art District Gallery Guide. If you missed any of it, this is your chance to go back and get your fill. After the jump, we’ve summarized the week’s blog activities. So check it out!
Culver City Art District Gallery Guide, by Jana Des Forges of BLK/MRKT
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Another packed week on the blog, a new post everyday! That’s not easy to do, people. Our writers are hard at work to bring you the best and this week they delivered. If you missed this week’s fun, it’s all summarized in a nice, tidy post below. Enjoy!
Aerial shot of Graham’s studio. Left to right, you can see her cyanotype prints, hanging balloon Cluster, geode sculptures, and CT scans.
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As we approach the first weekend in Spring, there is plenty of stuff on the New American Paintings’ Blog to catch up on. After the jump you can find out what happened this week, in case you missed it…
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Another great week on the blog. Missed something? Now’s your chance to catch up!
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Brian Fee, our Austin Contributor, had an active week. It would seem like he’s our NYC contributor, because while in New York he visited two fantastic shows. First, on Monday, Brian visited Chris Martin’s exhibition at Mitchell-Innes & Nash. Check out that post here. And just yesterday he shared with us his Zak Prekop’s show at Harris Lieberman Gallery. We’re hoping Brian shares more with us during his lengthy NYC trip!
Chris Martin | All Final Prophecies Come True, 2012, oil and collage on canvas, 45” x 37”
Courtesy the artist and Mitchell-Innes & Nash
Zak Prekop | Untitled (Black and Dark Blue), 2012, oil on canvas, 84” x 57”
Courtesy of the artist and Harris Lieberman, New York.
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Nadiah Fellah also shared an interesting exhibit with us. Kathan Brown first invited John Cage to Crown Point Press in the 1970s, when her studio was located in Oakland (in 1989 she moved to its current location in San Francisco). Cage, not usually thought of as a visual artist, and therefore initially hesitant, finally accepted her invitation. Over the next 15 years he took the opportunity to experiment liberally with etching and printing….Cage spent 1 to 2 weeks a year at Crown Point Press where he produced 27 groups of prints, resulting in over 600 individual works. While many of them are dispersed all over the world in public and private collections—from the National Gallery in D.C. to the Hyogo Museum of Modern Art in Kobe, Japan—a number of artist proofs have remained at Crown Point Press in San Francisco, where they are now on view. Check out Nadiah’s full post here.
John Cage | Déreau, 1982, #22 from a series of 38 related color etchings with aquatint, engraving, photoetching and drypoint, Paper Size: 18-1/2 x 24-1/2″
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Finally, Matthew Smith, our D.C. contributor, checked out Ian Whitmore’s exhibition, “a devil, a shadow, the notice of a small falling leaf” at G Fine Art. The exhibition is made up entirely of paintings Whitmore composed after his move to NYC, perhaps hinting at what’s occupied his mind since leaving D.C. behind. Smith’s full post is here.
Ian Whitmore | Grey Garden, 2009, 34″x38″, oil on linen (courtesy G Fine Art)
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Finally, if you are located in the Midwest (IL, IN, IO, MI, MN, MO, OH, WI), we have extended the deadline until March 7 (Midnight, EST). A late entry fee of $65 will apply. Submit Your Work Now!
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It was a busy week on the blog. Just in case you missed something, here is a quick recap of events with links to the original posts. Enjoy!
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On Monday we released the names of the featured artists from New American Paintings #98, the Northeast Issue. Only two more issues until our 100th publication! Go here to see the entire list of winners!
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Whitney Kimball, our New York City contributor, visited Terry Winter’s exhibition at Matthew Marks. She notes in her post, “Winters has long held an interest in natural and scientific forms; the press release cites his initial fascination with “cells, spores and seeds,” which progressed to “biological processes, scientific and mathematical fields, and issues raised by the interaction of information technologies and the human mind.” Read the full review.
Terry Winters | Tessellation Figures (10), 2011, oil on linen, 80 x 76 inches, Courtesy Matthew Marks
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Mid-week we posted another poll, this time to see whether or not you wanted to see more or less artists in New American Paintings. The voting results indicated that the publication should be left as is (we have no plans to make any changes to the number of artists or reproductions). In our comments section, “David” wrote, “By reducing the number of artists included in each publication the juror’s professional and personal tastes would only be more amplified in the selections and the publication may become less comprehensive.” It’s not to late to vote and to voice your opinion here!
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If you live in the Midwest, now is your chance to enter our competition. the deadline for this year’s Midwest Competition is February 29th (Midnight EST). If you’re a painter residing in Illinois, Indiana, Iowa, Michigan, Minnesota, Missouri, Ohio, or Wisconsin, this is your opportunity to submit work to New American Paintings. The juror for the 2012 competition will be Lisa D. Freiman, Senior Curator and Chair of the Department of Contemporary Art Department, Indianapolis Museum of Art. APPLY NOW!!!
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Finally, Matthew Smith, our Washington, D.C. contributor, reviewed an exhibition by Gina Beavers at Nudashank. Smith noted, “Culled from the unremarkable — quotidian moments and bits of cultural flotsam — her work is grounded by the immediacy of her source material. Despite the occasional abstraction, these representations aren’t meant to veer far from their physical subjects; they’re tethered to experiential moments that are as concrete as the sculptural reliefs on her canvases.” Read more about the show!
