Filed under: New York | Tags: Arlene Shechet, Dike Blair, Klaus von Nichtssaggend Gallery, Lois Dodd, Tom Fairs, Travess Smalley, Walled Garden, Whitney Kimball
Walled Garden (On view through October 21st) inconspicuously groups landscape painting from several generations. You’ll find names as disparate from emerging net artist Travess Smalley to entrenched New York figure Lois Dodd (in the 50s, she co-founded the Tanager Gallery, where both Philip Pearlstein and Alex Katz got their start). All of the work loosely congregates around geometric blocks of color and a level of mid-process; the defining difference seems to be that younger artists are more fluid with materials. In that way, “Walled Garden” opens up. Tom Fairs’s pencilled gardens start us at Homer; Travess Smalley’s metallic print looks toward psychadellia; Dike Blair’s painting-accented wooden crates break the picture plane; Arlene Shechet’s ceramic log appears to be mid-melt. - Whitney Kimball, NYC Contributor
Install shot | Walled Garden: Dike Blair’s This and That, 2009, and Lois Dodd’s Echinacea, Hollyhocks & Dahlias, 2006 (Photo courtesy of Klaus von Nichtssagend Gallery)
Filed under: New York, Review | Tags: Anya Kielar, Rachel Uffner, Whitney Kimball
If you’ve walked by Rachel Uffner this month, you’ve probably poked your head in. From the outside, Anya Kielar’s show of hanging screens (on view through October 21st) looks kind of like a staged birthday party, packed wall-to-wall with rows of colorfully-patterned traditional, folk, and tribal women. Inside, they give an ambience of passing through airy doors. - Whitney Kimball, NYC Contributor
Anya Kielar | Install shot | “WOMEN,” 2012, all roughly 85 1/2 x 43 x 3 inches. Photo courtesy of Rachel Uffner Gallery.
Filed under: New York, Review | Tags: Bosi Contemporary, James Fuentes, Louis B. James, Picture Farm, Whitney Kimball
“They may be cold, they may be as objective as a laboratory experiment, they may say nothing about the spiritual goals that have concerned great art of the past. But they are at least an art, or a craft, truly of our time,” John Canaday wrote in 1965 of MoMA’s op art exhibition “The Responsive Eye.” Mixed Greens’s present show “Post-Op” (on view through August 17th) seems to second that thought for 2012, but this time, without the punch. Since being written-off by many critics, Op’s life has, for a while, popularly been linked more to drug culture andadvertising than the art world. Mixed Greens’s handful of work instead documents the movement’s silent, pervasive seeping-into highbrow culture. - Whitney Kimball, NYC Contributor
Filed under: New York | Tags: Bushwick Open Studios, Clay Schiff, Scott Goodman, Whitney Kimball
While at Bushwick Open Studios a few weeks ago, I stopped by a storefront space shared by ten artists, a few of whom I’d known from school. Despite that bias, paintings by Clay Schiff and Scott Goodman stuck with me long after the visit was over. I think that’s a good sign. - Whitney Kimball, NYC Contributor
Filed under: New York, Review | Tags: Kansas Gallery, Michael Berryhill, NYC, Whitney Kimball
What comes after stasis? Writing about Michael Berryhill’s work in 2010, Sharon Butler observed a trend of “contingency and ennui” in painting, predicting that “struggle and tenacity” would follow. That bend has arrived in Berryhill’s show at Kansas Gallery (which closed on June 23rd), a series of paintings which, in itself, blossoms.
The entryway is lined with what resemble birdshit-covered antique doorstops. In “Island,” for one, hilly paint gobs crust the cover of an old hardcover book, with a small nautical map peeking out of a vaginal opening. A small wooden pump draped with a canvas donkey skin, “Pump Jack Ass,” is equally dry. - Whitney Kimball, NYC Contributor
Michael Berryhill | Island, 2012, book and oil paint, 9 1/2 x 6 1/2 x 4 inches. Courtesy Kansas Gallery
Filed under: New York, Review | Tags: Lisa Cooley, Michael Bauer, NYC, Whitney Kimball
Though he just moved to New York from Berlin, Michael Bauer‘s paintings have a thrifty quality that’s native to the Lower East Side. Bauer is not exactly sparing with material, but he conveys a raggedy feeling through dull palette, erasure on canvas, and focused use of a tiny brush. The effect is a highly-detailed fog. Only rubbery silhouettes of heads and limbs identify these as tangles of elastic figures. - Whitney Kimball, NYC Contributor
Filed under: Q&A | Tags: Betty Cunningham Gallery, Judy Glantzman, Whitney Kimball
“The beginnings of paintings are always really nice,” Judy Glantzman tells me, “because the quality of touch, the hand, are almost the realest moments…and then you have to go the whole friggin’ time to get back to that moment where you basically don’t care.” This internal combat describes both what’s in Judy’s paintings and how they’re made. Hers is a method of slashing, burying, and digging through layers of paper, often finding mangled figures which invoke Goya as much as formative years spent in the East Village in the 1980s. In other words, it makes sense that she’s begun to paint about war.
In a recent visit to her studio, we discuss works-in-progress which will be on view at Betty Cunningham Gallery next year. - Whitney Kimball, NYC Contributor
Judith Glantzman | Shakespeare’s Pirate, 2011 | gesso, acrylic, walnut ink, india ink, chalk, sharpie, and graphite on paper, 91.25 x 60 inches
Filed under: New York, Review | Tags: Feature Inc., Sam Gordon, Tromple L'Oeil, Whitney Kimball
Sam Gordon’s abstraction poses a photographer’s take on his show title, Trompe L’Oeil (On view at Feature Inc. through May 26th). A painter, photographer, and videographer, Gordon collects and weaves bits of the outside world, in his paintings of dust on mirrors and acrylic and bleach patterns on ratty quilts. Rather than the scrupulously reductive process of someone like Tony Matelli, though, Gordon’s spontaneity and raw materials feel like the naked cruise you get from a Wendy White or Terry Winters, or the anything-goes formalism of early experimental film. Each canvas forms a moving tessellation: in Air Mail, handkerchiefs and scraps of pants form a grid of rectangles, over which Gordon paints a tunnel of air mail envelope borders. On another, concentric loops of chains form negative space in a crusty layer of studio sweepings (staples, dust, little bits of paper). - Whitney Kimball, New York City Contributor
Sam Gordon | Flash (Let the flash flash when the flash wants to flash), 2010; bleach, acrylic paint, spray paint, ink-jet iron-on transfer, PVA sizing on sewn clothes and canvas remnants, artist pins (Photo courtesy of Feature Inc)
Filed under: New York, Review | Tags: Britta Deardorff, Eric Sall, Four Paintings, Jackie Gendel, Juan Gomez, Regina Rex, Whitney Kimball
The walls of Regina Rex have been taken over by four large, brightly-colored paintings, with luscious layers of thick and thin paint and most with elements of pure black. The paintings in the exhibition, Four Paintings (on view through June 3rd), are the kind of hate-it-or-love-it guilty pleasure that arouses a gut reaction and a tip-of-your-tongue familiarity. The gallery deems this an “unapologetic and visceral appeal to the viewer.” It’s an interesting question, which I think Regina Rex is trying to ask: for what do these have to apologize? - Read the full review by NYC Contributor, Whitney Kimball, after the jump!