Filed under: Review | Tags: Alex Chitty, Alice Tippit, Roots & Culture, Stephanie Cristello
At once phonetic and ambiguous, the work in Ella Hatchet reflects the title – a collection of paintings, photographs, and sculptures by Alex Chitty and Alice Tippit that strike a mood, rather than a specific target. In fact, the symbol a target would be the antithesis of what this exhibition, currently on view at Roots & Culture, so beautifully achieves. Embracing the poetic potentials of form, color, and organization of everyday objects, Chitty and Tippit stage an anti-devotional relationship to domestic symbols indicative of art historical tropes, as much as midcentury style and design. Where the embellishment of myth intersects with the cool touch of a textbook, both artists take a critical, yet humorous stance on immediately recognizable symbols and modes of making – silhouette portraiture, the reclining nude, and marble sculpture, to name a few. In Ella Hatchet, a Classical approach to achieving the perfect form is met with the contemporary anxiety of purposeful mistranslation. Taking its cue from the pictorial language of painting and sculpture, as well as its signs/signifiers, this exhibition questions the state of an original object when interpreted into a new context – reveling in all the exciting slippages that occur when traditional systems of representation falter. – Stephanie Cristello, Chicago Contributor
Work by Alex Chitty and Alice Tippit, from left: “Autonaut,” 2011, “Snap,” 2011, “Slow Death of a Namesake (Unit I),” 2013, and “Lake Aspect,” 2012. Courtesy of the artist and Roots & Culture.
Filed under: Los Angeles, Review | Tags: Christine Frerichs, Ellen C. Caldwell, gallery km
The main gallery space is filled with ten large 44 x 34 paintings that are three-dimensional, visually enticing, and inviting. At first glance, they do not appear to have a unified theme, as they vary fairly drastically in color and abstract subject. Ellen C. Caldwell, Los Angeles Contributor
Christine Frerichs | The Conversation – installation view. Photo by Lee Thompson, courtesy of gallery km.
Our next New American Paintings deadline is for the Pacific Coast region, which includes Alaska, California, Hawaii, Oregon, and Washington. If you reside in any of these states, now is your chance to apply to New American Paintings. The Deadline is June 30, Midnight, EST. We are happy to have Janet Bishop, Curator of Painting and Sculpture, San Francisco Museum of Modern Art, as our 2013 juror. We’ll be posting more about Ms. Bishop soon, so stay tuned.
Allyce Wood’s new works on paper feign modesty. The watercolors and pencil drawings that comprise Latent Utility, Present but Not Active Worth at SOIL in Seattle, WA pose as straightforward flora studies from a forlorn time and place, but the depth is in the details. Against a backdrop of the overtly “small batch” and “hand foraged” aesthetics characteristic of the urban crafting currently in vogue across the Northwest and beyond, the artist steeps this body of work in restrained, carefully considered elements of the natural world that feel rich in their compositions while representing hollow, decaying remnants of traditional craft processes—cavernous driftwood, crumpled leaves, dried garland, woven shoots. Working without direct physical references, Wood’s new series promises an authentic, if imperfect, strive for genuineness that resonates against the trends it quietly defies. I caught up with the artist to find more about these ideas and processes behind Latent Utility. – Erin Langner, Seattle Contributor
Filed under: New York | Tags: Bruce Conner, Nadiah Fellah, Paula Cooper Gallery
On view at Paula Cooper Gallery in New York is a large selection of pen and ink-blot drawings by the artist Bruce Conner (1933-2008). Spanning the period of 1962-2000, the drawings vary from postcard size to medium-scale works, and are all black-and-white. Also on view is a 2008 film by the artist titled EASTER MORNING, done in collaboration with the musician Terry Riley. – Nadiah Fellah, NYC Contributor
Installation view, Paula Cooper Gallery. Image courtesy Paula Cooper Gallery. Continue reading
Filed under: Chicago, Kansas City, Review | Tags: Anne Lindberg, Carrie Secrist Gallery, Chicago, Kansas City, Kent Michael Smith, New Work from Kansas City, Paul Anthony Smith, Stephanie Cristello
An effort to define “Midwestern Painting” has been a major topic of discussion lately – not a quite debate, but definitely an inquiry. Carrie Secrist’s recent exhibition New Work from Kansas City, featuring work by Anne Lindberg, Kent Michael Smith, and Paul Anthony Smith, foregrounds an emphasis on site and contemporary practice in the Midwest. While the press release pushes against a read of “regionalism”, the exhibition suggests otherwise – though perhaps this ever-present theme of region is symptomatic of a larger condition concerning a rise in questioning Midwestern “standards” for a definition toward “painting,” the term. Strung together by a loose thread of abstraction, the exhibition features the artists’ differences as opposed to their similarities. Far from being a negative thing, New Work from Kansas City highlights some very prevalent issues in what it means to put together exhibitions with a Midwestern slant today in Chicago. – Stephanie Cristello, Chicago Contributor
Anne Lindberg | parallel 39, 2013, graphite and colored pencil on cotton mat board, 58 x 51 inches,Courtesy the artist and Carrie Secrist Gallery, Chicago
Filed under: Los Angeles, Review | Tags: David Rathman, Ellen C. Caldwell, Mark Moore Gallery
David Rathman’s recent watercolor exhibit “Hope I’m Never That Wrong Again” at Mark Moore Gallery featured fading sepia-toned watercolor cowboys gallivanting around a fading wild west like ghosts…It was filled with images reminiscent of Lonesome Dove that would have made Larry McMurtry proud.
David Rathman | There Never Was Any Good Old Days, 2013, Ink and watercolor on paper, 28 x 42 inches. Image courtesy of Mark Moore Gallery.
At times these cowboys appeared to be riding out toward the viewers and at others, they looked to be fading into the background. Regardless, they welcome us into a turbulent past… Yet Rathman’s combination of monotone colors, delicate washes, and humorous titles suggest a rebirth and reimagining of the violent days of yore, in the form of bittersweet and gritty nostalgia. – Ellen Caldwell, Los Angeles Contributor Continue reading