This winter Brooklyn painter and writer Stephen Maine sat down with artist Linda Francis to discuss her involvement in the fields of new music and performance within the greater context of her painting practice.
Monika Sprüth and Philomene Magers are pleased to present the second solo exhibition by Robert Morris in Berlin. The American artist is displaying a selection of space-related works which offer an historical overview of his involvement with sculpture.
For “Black Sculpture,” Mastrangelo focuses on art history for the first time. After creating exact molds based on the work of Frank Stella and Ad Reinhardt, Mastrangelo casts his reliefs out of compacted gunpowder. The pieces teeter on the precipice of annihilation; by forging the work of canonical artists in gunpowder, Mastrangelo simultaneously pays homage to the work of earlier iconoclasts and seeks to destroy them for himself.
George Ortman’s painted constructions of the 1950s and early 1960s are pioneering works. Their reductive geometry and modular color were widely seen as being at the forefront of young artists move away from abstract expressionism.
The exhibition features more than 100 works by 35 artists including Josef and Anni Albers, John Cage, Merce Cunningham, Willem and Elaine de Kooning, Buckminster Fuller, Jacob Lawrence, Robert Motherwell, Kenneth Noland, Robert Rauschenberg, Dorothea Rockburne, Kenneth Snelson, Jack Tworkov and Cy Twombly among others.
Dorothea Rockburne, Narcissus, 1985 Oil on gessoed linen 92 x 123 x 7 inches June 19 – August 14, 2011 Born and raised in Montreal, Rockburne first studied at the city’s École des Beaux-Arts with Paris-trained painters Paul-Émile Borduas and Jean-Paul Riopelle. Beginning in 1950, she attended the legendary Black Mountain College in Asheville, North Carolina, where classes with Merce Cunningham, John Cage, and, perhaps most significantly, the mathematician Max Dehn, had a seminal influence […]
Kris Scheifele, Window Contortion, 2010 Acrylic paint and acetate 41 x 18 x 3 inches February 18 – March 20, 2011 My most recent project is a series entitled The Contortions. Each piece is made entirely of layer upon layer of acrylic paint. The paint is applied methodically to a wooden panel support until it reaches a thickness of up to a half-inch. Then, it is pulled up from the support and cut with a […]
Kris Chatterson, Blue Copper, 2011 60 x 66 inches February 19 – March 26, 2011 Western Project is proud to present the second solo exhibition of paintings by Kris Chatterson. Living and working in New York, the artist has created a body of work using printing, painting, digital imaging and iPhone drawings. Clipping and selecting gestures from previous prints, drawings and paintings, Chatterson excavates his past; a kind of digital surgery and recombination process. He […]
Al Taylor, Station of the Cross, 1990 Formica laminate and wire 42 x 25 x 23 inches January 21 – April 16, 2011 Al Taylor: Wire Instruments and Pet Stains is the first American survey of work by this important and prolific artist. The exhibition features two major series in Taylor’s vast oeuvre: Wire Instruments (1989-1990) and Pet Stains (1989-1992). These distinctive bodies of work will illustrate the importance of Taylor’s process and creative breadth. […]
Installation view. January 8 – February 12, 2011 I am delighted to announce Claude Rutault’s first personal exhibition from January 8 to February 12 in my gallery. The exhibition will bring together 23 works in 10 rooms in the gallery. Historical works from the 1970s in particular (definition-method 208c painting, depainting, repainting and definition/method 98 : to be continued), and nine new works will be presented for the occasion. It is a new stage in […]
Kurt Schwitters, Mz 371 bacco, 1922 Collage of cut and torn, printed, handwritten, tissue and coated papers on paperboard The Menil Collection October 22, 2010 – January 30, 2011 The German artist Kurt Schwitters (1887–1948) remains one of the most influential figures of the international avant-garde. In the years following the First World War he coined the term “Merz,” in reference to his ambition to “make connections …between everything in the world.” Hoping to unify […]
Installation view September 10 – October 30, 2010 As the Cedar Tavern played a role in the formation of abstract expressionism, Max’s Kansas City galvanized a younger generation of artists from when it opened in 1965 to when it closed its doors in 1974. This exhibition will feature the amazing diversity of artists from every major reference point in the New York art world of the period: Abstract Expressionism, Color Field, Pop Art, Minimalism, Conceptual […]
Installation view of Salotto – Villa Panza Museum, Varese, Italy (l to r) Ruth Ann Fredenthal, Untitled 130, 1987-1988 Multilayered oil on Oyster linen, 60 x 60 inches Ruth Ann Fredenthal, Untitled 121, 1984-1985 Multilayered oil on Oyster linen, 66 x 60 inches The Panza Collection (Photo: David Sotnik) Count Giuseppe Panza di Biumo, 1923-2010 “Most people who have any interest in Post-War American art, whether Abstract Expressionism, Pop Art, Minimalism, Environmental Art, Conceptualism or Monochromism […]
May 26 – June 20, 2009 Edward Shalala will exhibit documentary photographs in The Painting Center’s Project Room. Shalala makes temporary raw canvas thread paintings in NYC parks and grasslands and photographs the results. Shalala responds to the history of modern and postmodern abstraction that deals with ‘end game’ painting. The lineage begins with: Cezanne’s use of raw canvas (“in-reserve”), Barnett Newman’s painting ‘Name II,’1950, Robert Rauschenberg’s White painting series, 1951, Piero Manzoni’s clay […]
Carl Ostendarp, Aaarrgh, 2009 (detail) February 13 – August 23, 2009 The RISD Museum of Art presents Carl Ostendarp, “Pulled Up,” an exhibition in its Lower Farago Gallery that not only borrows its title but also its optimism from the 1977 Talking Heads song of the same name. “Pulled Up” will feature works chosen by the artist from the Museum’s collection together with new paintings of his own. Ostendarp (American, b.1961) has taught and […]
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: […]
Ward Jackson at Kay-Mar Gallery, NY, 1964 Transit & Garden 1 (left to right) Quite simply, you have to know about Ward Jackson and his work — he was an innovative abstract painter, a maverick editor and arts worker, and a key member of New York City’s abstract artist community. I recently had the pleasure of speaking with Ward’s nephew, artist Julian Jackson, about his uncle’s life and work. Our discussion that follows is […]
The following interview was published on MINUS SPACE in December 2004 in conjunction with Linda Francis’ spotlight exhibition. Matthew Deleget: I would like to begin our interview with a brief discussion of your background. You were born and raised in New York City (The Bronx). What was you first contact with the arts? Was visual art something that was understood and supported? Linda Francis: At the time, one could get a decent education […]
The following interview was published on MINUS SPACE in October 2004 in conjunction with Kevin Finklea’s spotlight exhibition. Matthew Deleget: Let’s begin by talking about color, the central concern of your paintings over the past decade. You’ve worked in a pharmacy for over 20 years now, which you acknowledge has greatly affected your color sensibility. In fact, every time I see a television commercial for the acid reflux medicine, Prevacid, I think of your […]