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Recent Brooklyn Rail Articlesposted August 1st, 2010
Installation view of James Hyde, Stuart Davis Group David Reed In Conversation with Phong Bui, by Phong Bui Donald Judd and 101 Spring Street at Nicholas Robinson Gallery, by Phong Bui Source, The Halls at Bowling Green/CUNY, New York, NYposted April 9th, 2010
Mark Dagley, Coded Grid (above) Mark Dagley, Deathtrip (below) April 22 – May 28, 2010 Curated by Susan Ross and Melissa Staiger Participating Artists: City College’s Center for Worker Education will host the third in its “Halls at Bowling Green” series of shows starting on April 22nd, according to series organizer Astrid Persans. Titled Source and organized by curators Melissa Staiger and Susan Ross, the group show features work by seven contemporary abstractionists who share concerns of feminine influence, antecedent and identity. “Abstraction probably seems like an outmoded relic to some,” Persans remarked. “Yet Staiger and Ross have brought to bear not only a keen understanding of where it’s been but a positive sense of where it’s going. The result makes abundantly clear the extent to which even relatively recent styles are being freed from their presumed periods.” “These seven artists all exhibit roots in the concept or experience of femininity,” Staiger continued. “Whether a 19th Century Swedish mystic, Palm Beach fashion designer Lily Pulitzer, the work of Helen Frankenthaler or the Yin-oriented Japanese aesthetics known as wabi-sabi, they each trace their work back to some decisively feminine factor.” At the same time, Ross and Staiger point out, the very diversity of influences the artists acknowledge belies the simplification of placing them all under the umbrella of “Abstraction”. The seven—Lori Kirkbride, Glen Cunningham, Mark Dagley, Molly Herman, Rachael Wren, Ben LaRocco and Laura Fayer—while all nominally abstractionists, range in approach from Kirkbride’s preoccupation with color and pattern to LaRocco’s almost mystical appropriation of forms from the psyche. The exhibition is to include a panel discussion moderated by Rossana Martinez, curator of Brooklyn’s MINUS SPACE, an alternative gallery dedicated to showing abstraction, minimalism and other reductive art. MINUS SPACE was included in P.S.1’s 2008-09 program, curated by Brooklyn Rail publisher Phong Bui. The Halls at Bowling Green is a curatorial incubator serving the student body and downtown community with contemporary art exhibitions. Location: Kenneth Noland (1924-2010), by Mark Dagley, The Brooklyn Rail, February 2010posted February 8th, 2010
Kenneth Noland staining ‘Horizontal Stripe’ “I’ve followed other artists gratefully and I hope I’ve also followed my own path….sometimes along side other artists. I’ve also been willing to share any help that I could give to any other artist. I love art and I love the life of art and I only wish that the real life of art could affect social change in a good way and that the invasion of commercialism in art and the invasion of entertainment into all areas of our lives hadn’t brought some of the worst features of our culture into the realm of art. —Kenneth Noland I heard of Kenneth Noland’s death through a text message from my friend and fellow painter Don Voisine: Kenneth Noland RIP. This isn’t the sort of thing artists kid about, not Don’s idea of a practical joke; still, I clung to a small shred of doubt. Moments later, I googled Don’s exact words and found that Noland had indeed passed away. Well, I figured, at least he made it to his 85th year. Not a bad run, not a bad run at all. But it’s difficult to fathom: one of the last great colorists of the 20th century is no more…” Rudolf de Crignis: Grays and Blues, Lawrence Markey Gallery, San Antonio, TXposted May 14th, 2009
Rudolf de Crignis, Painting No. 97—23 May 21 – July 3, 2009 Lawrence Markey presents an exhibition of paintings by Rudolf de Crignis (1948–2006), entitled grays and blues. This is the first exhibition of de Crignis’ work at Lawrence Markey. The exhibition grays and blues focuses on five oil paintings from 1997 to 2004. During this period, de Crignis’ primary colors consisted of ultramarine and gray. Throughout, his canvas shape of choice remained the square. The five paintings each measure 30 x 30 inches. The layering of paint is at the core of de Crignis’ paintings from this period. Upon initial examination, de Crignis’ paintings appear to be a single color, in the case of these five paintings, ultramarine or gray, or a variation thereof. The specific hue and intensity of each painting results from the over-layering of numerous glazes of paint covering the entire surface of the canvas. Each layer alternates between horizontal and vertical brushstrokes. A painting can have upwards of 60 layers of paint. The original white gesso ground reflects light. Issues of space and light prevail. In his obituary for the Brooklyn Rail (February, 2007), John Zinsser wrote of de Crignis’ paintings: Each piece at first appeared all blue or all gray with deeply color-saturated surfaces. But, in fact, these were the results of the artist layering thin oil washes in accumulation. The gray paintings were made without ever using the color gray. The blue paintings, predominantly ultramarine, were “tinted” with secondary hues, red or silver, for example, creating an illusory experience of color “aura.” In her New York Times obituary (December 30, 2006), Roberta Smith wrote: Mr. de Crignis began making seemingly monochrome paintings, often in radiant blues or subtle grays. Built up from numerous thin layers of different colors, they had a luminous depth that was compared more than once to the light installations of James Turrell. Writing in The New York Times in 2004, Ken Johnson called Mr. de Crignis’s work “at once formally severe and materially luxurious” and noted its ability to “bridge the gap between the perceptual and the transcendental.” Rudolf de Crignis was born in Winterthur, Switzerland, in 1948. He studied at the Form + Farbe School for Art and Media design in Zürich and at the Academy of Fine Arts in Hamburg, Germany; his focus was photography, video and performance art. A studio fellowship in 1985 in New York City paved the way to de Crignis’ shift to painting. De Crignis lived and worked in New York until his untimely death in 2006 of an inoperable brain tumor. Solo museum exhibitions include Kunsthalle Winterthur, Switzerland, 1995; Artothek Cologne, Germany, 2001; Kunstmuseum Bonn, Germany, 2003; Swiss National Library, Bern, Switzerland, 2006. De Crignis’ work is in numerous collections, including the Albright-Knox Art Gallery; the Fogg Art Museum at Harvard University; the Indianapolis Museum of Art; the Chazen Museum of Art; the Rose Art Museum at Brandeis University; the Kunsthaus Aarau, Switzerland; the Kunsthaus Zürich, Switzerland; the Lenbachhaus, Munich, Germany; Kolumba, Cologne, A fully illustrated catalogue will accompany the exhibition, and is available for sale from the gallery. Please also visit www.rudolfdecrignis.com for further information Recent Brooklyn Rail Postsposted March 20th, 2009
Piero Manzoni, Achrome, 1961-62 March 2009 The Last Breath of Piero Manzoni, by Robert C. Morgan Chris Martin: Works on Paper at Mitchell-Innes & Nash, by John Yau Imi Knoebel at Mary Boone Gallery, by John Yau Philip Guston: 1954-1958 at L&M Arts, by John Yau The Art World on Facebook: A Primer, by Sharon L. Butler
February 2009 Al Held at Paul Kasmin Gallery, by Roni Feinstein R H Quaytman: Chapter 12: iamb at Miguel Abreu Gallery, by Joan Waltemath Minus Space at P.S.1 Extendedposted January 22nd, 2009
Installation in cafe space Exhibition in cafe space continues until May 2009. (Boiler Room exhibition closed on January 26, 2009.)
MINUS SPACE The exhibition is curated by artist, Brooklyn Rail publisher, and P.S.1. Curatorial Advisor Phong Bui, and includes the work of 54 artists from 14 countries. The exhibition marks MINUS SPACE’s 5th anniversary. Participating Artists Ongoing Performance Recent Brooklyn Rail Postsposted January 7th, 2009
Ad Reinhardt, Drawing, 1946 December 2008 / January 2009 Reply to Irving Sandler, by Michael Corris Katia Santibañez: New Work, by Phong Bui Ad Reinhardt’s Emblematic Drawings In Their Moment, by Joseph Masheck Tibor Freund: Motion in Paintings, by Craig Olson Ronald Bladen: Sculpture of the 1960s and 70s, by Ben La Rocco
November 2008 Re: Michael Corris In Conversation with Joan Waltemath on Ad Reinhardt, by Irving Sandler Stephen Antonakos: Here and Beyond, by Phong Bui Giorgio Morandi, by Greg Lindquist Ron Gorchov, by Ben La Rocco Merrill Wagner, by Ben La Rocco
October 2008 Joanna Pousette-Dart with Joan Waltemath Michael Corris with Joan Waltemath
September 2008 Minus Space, Curated by Phong Bui, P.S.1 Contemporary Art Center / A Museum of Modern Art Affiliate, Long Island City, NYposted October 19th, 2008
Exhibition poster October 19, 2008 – May 4, 2009 (Daniel Göttin’s ceiling work in the cafe continues through summer 2009) We are delighted to announce our exhibition at P.S.1 Contemporary Art Center, an affiliate of The Museum of Modern Art in New York. P.S.1 is one of the oldest and largest non-profit arts centers in the United States solely devoted to contemporary art. The exhibition is curated by artist, Brooklyn Rail publisher, and P.S.1. Curatorial Advisor Phong Bui, and includes the work of 54 artists from 14 countries. The exhibition marks MINUS SPACE’s 5th anniversary. We greatly thank curator Phong Bui and the remarkable staff at P.S.1, the participating artists and their galleries, and our generous donors, whose financial support made this exhibition possible. Participating Artists Ongoing Performance Interview Press / Blogs MINUS SPACE at P.S.1 Contemporary Art Center / MoMA, Abstract Contemporary Art Blog, December 18, 2008 Top Ten 2008, by Jerry Saltz, Artnet Magazine, December 15, 2008 (MINUS SPACE is cited in #10) The Year in Art: The Top Nine Shows (and One Event), by Jerry Saltz, New York Magazine, December 7, 2008 (MINUS SPACE is cited in #10) Michael Brennan at 210 Gallery and P.S.1, by Paul Corio, November 16, 2008 Interview with Simon Ingram / MINUS SPACE exhibition at P.S.1, New York, Vernissage TV, November 10, 2008 MINUS SPACE, by Eva Lake, November 10, 2008 MINUS SPACE at P.S.1, The James Kalm Report, November 2, 2008 Update, Henri Art Magazine, November 1, 2008 Reductive Art at P.S.1, by Jon Meyer, October 25, 2008 Gallery Credits Additional Credits
Lisa Hamilton, Jane Kim / Thrust Projects, New York, NYposted September 29th, 2008
Lisa Hamilton, Open Secret, 2008 October 17 — November 30, 2008 Jane Kim / Thrust Projects presents works by New York abstract painter Lisa Hamilton. Lisa Hamilton’s work is focused on the process of geometric constructions of color, shape, and line with an assertion of the materiality of paint. Building up and stripping down to the essential elements allows Hamilton to create and juxtapose opposing visual forces of flatness and depth. The paintings are a nod to traditional concepts of abstraction, particularly the 80’s where abstraction played on a purely visual level. By delving straight into fundamentals, Hamilton re-discovers the language of color and form through compositions that begins from a vertical axis using intertwining diagonals. Lisa Hamilton was born in Atlanta, Georgia and is a graduate of The Cooper Union and Hunter College in New York. Recent group exhibitions include “FREEZE FRAME” at Thrust Projects in January of this year with mentions in the show’s reviews in The Brooklyn Rail, The New York Sun, Art in America, and artUS and “The 183rd Annual: An Invitational Exhibition of Contemporary American Art”, The National Academy Museum, New York. Her work has been shown in Japan, Germany and Holland as well as Los Angeles and New York. Recent Brooklyn Rail Postsposted August 7th, 2008
July 2008 Meeting Imi and Blinky at Dia: Beacon, by Sharon Butler Philip Guston Works on Paper, by John Yau
June 2008 David Novros with Phong Bui, by Phong Bui Wynn Kramarsky with William Corbett, by William Corbett Tribute to Robert Rauschenberg (1925–2008), by Dorothea Rockburne & Nan Rosenthal Mel Bochner, by David Markus Milton Resnick: A Question of Seeing, by Thomas Micchelli Weltanschauung and Abstract Painting, by Robert C. Morgan Rebecca Horn: Cosmic Maps, by Joan Waltemath Take Your Time: Olafur Eliasson, by Josh Morgenthau
May 2008 Abts’ Traction, by Sharon L. Butler Helen Miranda Wilson, by John Yau
April 2008 Tadaaki Kuwayama’s Aesthetics of Infinity, by Robert C. Morgan Dan Walsh, by Cassandra Neyenesch Ruth Root, by Nora Griffin
March 2008 Howard Smith Stroke and Structure, by Joan Waltemath John Zinsser Recent Work, by Stephanie Buhmann Agnes Martin, by Ben La Rocco Thomas Nozkowski Paintings, by John Yau Harriet Korman Recent Paintings and Drawings, by John Yau Agnes Martin’s Homework, by Jeremy Sigler Freeze Frame, by Craig Olson Chris Martin, with Craig Olsen, The Brooklyn Rail, February 2008posted February 14th, 2008
Portrait of the artist by Phong Bui In the midst of preparations for his current exhibition at Mitchell-Innes & Nash Gallery in Chelsea ( January 26th–March 1, 2008), Chris Martin welcomed painter and Rail contributing writer Craig Olson to his Williamsburg studio to discuss his life and work. Robert Barry: NOT THE ART OF WAR, BUT ART AND WAR, by Robert C. Morgan, The Brooklyn Rail, December 2007-January 2008posted January 14th, 2008
Robert Barry, Art and War, 2007 “Robert Barry is one of the most convincing conceptualists from the era of the late sixties and seventies. His word lists, wall and window pieces, his sound recordings, and DVD and slide projections, are focused on one central idea: language. Like an asterisk spinning through the void of space and time, Barry’s linguistic orientation traverses print and virtual imagery. Isolated words, laminated on the walls of various rooms in the gallery, move constantly in and out any coherent syntactical relationship giving the viewer the sense of experiencing a narrative in fragments…“ The Geometry of Hope, by Geoffrey Cruickshank-Hagenbuckle, The Brooklyn Rail, December 2007-January 2008posted January 14th, 2008
Joaquín Torres-García, Composición constructiva 16, 1943 “There is a spidered but unbroken vein feeding cannibals (Yes, I said that) into Concrete Art, snaking through the 20th century from the deepest reaches of the Amazon River in Brazil. It was there, in 1928, that Oswaldo de Andrade unleashed his bloodcurdling Anthropophagous Manifesto, declaring that “We are concrete”, while claiming kinship with the Tupi cannibals and threatening to devour all of Western art just like they eat people…“ Katy Siegel and David Reed with Phong Bui, The Brooklyn Rail, February 2007posted February 16th, 2007
(photo credit: Phong Bui) Katy Siegel and artist David Reed discuss their groundbreaking exhibition High Times, Hard Times: New York Painting 1967-1975 at the National Academy Museum in New York with Brooklyn Rail publisher Phong Bui. Marcia Tucker 1940-2006, by Carol Becker, The Brooklyn Rail, February 2007posted February 16th, 2007
(photo credit: Barbara Parmet) Carol Becker remembers maverick curator Marcia Tucker, former Whitney Museum curator (1969-1977) and founder of the New Museum of Contemporary Art (1977-1999) in New York. Constantly Blue Sky, Never a Cloud: On Rudolf De Crignis, 1948-2006, by John Zinsser, The Brooklyn Rail, February 2007posted February 16th, 2007
(photo credit: Michael Paoletta) Artist John Zinsser recalls his long-term friendship with artist Rudolf De Crignis. Another Silent Attack, by Franck Andre Jammeposted January 26th, 2007
Cover Image by MINUS SPACE artist Don Voisine George Ortman at Mitchell Algus Gallery, by Jim Longposted December 20th, 2006
 In The Brooklyn Rail, New York artist Jim Long reviews George Ortman’s exhibition at Mitchell Algus Gallery, which included 14 pieces spanning 48 years. “If you weight a piece of string and submerge it in a glass of water saturated with dissolved sugar, over a period of hours you’ll see crystals, “rock candy,” start to form…” |
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