Filed under: Art Market, Art World, Features | Tags: Aaron Parazette, ACME, Adam Sorensen, Ala Ebtekar, Alexis Stamatiou, Ali Smith, Allison Schulnik, American Contemporary, Andrew Guenther, Andrew Schoultz, Angela Dufresne, Angela Fraleigh, Angles Gallery, Anna Conway, Anthony Meier Fine Arts, Ben Snead, Ben Weiner, Benjamin Degen, Brett Reichman, Brian Zink, CANADA, Carlos Vega, Cary Smith, Catherine Kehoe, Corbett vs. Dempsey, CRG Gallery, Daniel Heidkamp, Daniel Weinberg Gallery, Daniela Rivera, Danielle Tegeder, David Kordansky Gallery, Devening Projects + Editions, Dimitri Kozyrev, Domingo Barreres, Don Voisine, Echo Eggebrecht, Elaine Spatz-Rabinowitz, Eleven Rivington, Emily Eveleth, Erik Den Breejen, Feature Inc., Feodor Voronov, Franklin Evans, Fredric Snitzer Gallery, Freight + Volume Gallery, Friedrich Petzel Gallery, Gregory Lind Gallery, Hannah Barrett, Harris Lieberman Gallery, Heyd Fontenot, Holly Coulis, Horton Gallery, Howard Yezerksi Gallery, Inman Gallery, International Art Objects Galleries, Jack Balas, Jake Longstreth, James Fuentes, James Gobel, James Harris Gallery, James Kelly Contemporary, James Siena, Jeff Bailey Gallery, Jered Sprecher, Jill Moser, Jim Gaylord, Joe Wardwell, John Sparagana, John Zurier, Jon Rappleye, Joshua Abelow, Jovi Schnell, Judie Bamber, Karla Wozniak, Kate Shepherd, Katherine Sherwood, Kelly McLane, Kent Dorn, Kiel Johnson, Kirk Hayes, Kristen Schiele, LaMontagne Gallery, Laurel Sparks, Leo Koenig Inc., Libby Black, Lisa Cooley, Lisa Sanditz, Liz Markus, Louise Belcourt, Mark Flood, Mark Moore Gallery, Marx & Zavattero, Matthew McClune, Melora Kuhn, Michael Scoggins, Mitchell-Innes & Nash, Molly Zuckerman-Hartung, Morgan Bulkeley, Nina Bovasso, Nuno de Campos, Paolo Arao, Patrick Wilson, Paul Shakespear, Paule Anglim, Pierogi, Robert Buck, Robert Kelly, Ryan Mrozowski, Sarah Awad, Sarah Cain, Sarah Walker, Shane Campbell Gallery, Shara Hughes, Shaun O’Dell, Sigrid Sandström, Sikkema Jenkins & Co, Siobhan Liddell, Steven Zevitas, Stuart Arends, Sue Scott Gallery, Susan Jane Belton, Susan Vielmetter Los Angeles Art Projects, Texas Gallery, Tim Bavington, Tommy Fitzpatrick, Wendy White, William Cordova, William Swanson, Xiaoze Xie, Yoon Lee, Zach Feuer, Zieher Smith
It is a simple truth that in any given month, if you added up all of the available space in commercial galleries around the country, the amount dedicated to painting would dwarf that of all other media. The list that I have compiled consists of 40 United States’ based galleries that have a proclivity for painting. That is not to say that painting is the only medium that these galleries show; indeed, most represent artists producing work in a range of media. All of them, however, have shown a particular interest in the medium over an extended period of time, and all have stables of artists that are at least 50% painters.
The list is obviously far from comprehensive, and I consciously avoided blue chip galleries such as David Zwirner and Matthew Marks in favor of younger spaces. Some dealers I have personal relationships with, and others I know only casually. If you love the medium of painting, these are all spaces that you should be familiar with.
I hope that you find the list informative. Directly below is a list and after the jump you’ll find some brief comments and a list of noteable artists. Enjoy! - Steven Zevitas, President/Publisher, New American Paintings
Jeff Bailey Gallery
Shane Campbell Gallery
Corbett vs. Dempsey
Devening Projects + Editions
Freight + Volume
Gallery Paule Anglim
James Harris Gallery
Harris Lieberman Gallery
International Art Objects Galleries
James Kelly Contemporary
Leo Koenig, Inc.
David Kordansky Gallery
Gregory Lind Gallery
Marx & Zavattero
Anthony Meier Fine Arts
Mitchell-Innes & Nash
Mark Moore Gallery
Friedrich Petzel Gallery
Sue Scott Gallery
Sikkema, Jenkins & Co
Fredric Snitzer Gallery
Susan Vielmetter Los Angeles Art Projects
Daniel Weinberg Gallery
Howard Yezerksi Gallery
Filed under: Art World, Atlanta, Boston, Chicago, Dallas, DC, Los Angeles, Must-Sees, New York, Portland, San Francisco, Seattle | Tags: Claire Sherman, David Rathman, Frohawk Two Feathers, Gianna Commito, Heyd Fontenot, Jaq Chartier, Jonas Wood, Josh Smith, Kenneth Noland, Kristine Moran, Must-Sees, Robert Jessup, Steve Roden, Tomory Dodge, William Swanson
Kristine Moran, Slow-wave 2, 2011 | Oil on canvas, 60 x 54 inches. Courtesy of Nicelle Beauchene Gallery, New York
It’s March, which means art fairs and new spring openings. The snow is melting (somewhat) and it’s time to hit the pavement to see some new work. The editorial staff at New American Paintings have put together a list of more than 40 of the top painting exhibitions on view at private galleries across the country this month—from New York to Los Angeles, Chicago to Miami, and more—including more than a dozen shows from artists previously included in New American Paintings and featuring dozens of notable and not-to-be-missed shows from across the country.
Filed under: Q&A | Tags: Austin, Evan J. Garza, figure, Heyd Fontenot, Jonathan Walz, Michael O'Sullivan, nudes, portraiture, Texas, University of Maryland
Aleks with Seven Others, 2009
Featured in edition #66 and on the cover of edition #84 of New American Paintings, Heyd Fontenot isn’t afraid to bare it all, at least not when it comes to his work. The Austin, TX-based artist creates intimate renderings of nude friends and models that are as weirdly natural as they are delicately altered. Whether painting nude portraits on naked wood or drafting subtle works on paper, Fontenot’s work is undoubtably captivating. We caught up with the Texas artist this week to talk about his work (and getting naked). —Evan J. Garza
EJG: So, why the nude?
Well, Evan, I think I’ve always been sort of fascinated by the nude. Ever since I was a child, I was supremely interested in erotically-charged material. And having said that, I should clarify that I don’t necessarily classify the work that I’m doing as “erotic.” I realize that there is a “sexy” element in the work, but I think that has more to do with a degree of intimacy. And the playfulness in the work is also important, in that it perhaps signifies that the nudity isn’t a threat. I think I originally conceived this body of work as an attempt to present a loaded, and perhaps confrontational subject in a straight-forth, unflinching, kind and gentle manner.
Jessica, Alexandre, Bill, 2010
EJG: Much of your work is painted on wood. Tell me about what you enjoy about using wood. (Not a euphemism, I swear.)
See, I think it’s totally okay to use a dirty joke here and there. Because I feel that the “nude” is sometimes “neutered” in order to be acceptable. And in that case, we are denying our true responses to the visual stimuli. Yes, I’m looking at a nude and it did occur to me that this could be sexual. And no, that doesn’t have to be my only response (even though it was my first response). I can find other valuable and worthwhile content. I love a double entendre and I encourage naughtiness. Please feel free to make the off-handed comment, as long as it’s followed up by something thoughtful.
Regarding wood as painting surface, there may be something nostalgic about my use of raw wood as a surface for painting, but there’s also the metaphor for nudity. And I think there may be a secondary metaphor – letting the painting surface be what it actually is, rather than a platform to build illusion, which is traditionally the alchemy practiced by painters.