11.1.15

ERIC HOLZMAN at Lori Bookstein

 Eric Holzman, Afternoon, 2014, 12 x 9 inches, oil on canvas

Eric Holzman is presenting an exhibition of small paintings in the back gallery at Lori Bookstein Fine Art through February 7, 2015. While we might call these works landscape paintings, I would say that they are first and foremost paintings, that take elements of landscape as their subject or starting point. One of the most recent pieces in the show, Afternoon, is almost entirely frontal -- a luscious organic object whose surface undulates with a most subtle umber/ultramarine contrast -- like a lovingly handmade effigy of a momentary memory. Other works as well, particularly the smallest pieces, read from a distance as virtual monochromes, then draw us into a dense amalgam of shapes and spaces that are at once as inviting and as impenetrable as nature itself. Several of the slightly larger paintings feature a heightened contrast between color-saturated sky and silhouetted trees, creating a hallucinatory presence that again emphasizes both the beauty and otherness of the landscape. In their extreme compactness these diminutive paintings all have an intensely worked physicality that creates an aged timelessness that calls to mind myriad art historical references. But while they are of course full-fledged self contained paintings, they are also used by the artist as studies for the fierce and magnificent 8 foot paintings where Holzman is absolutely in a league of his own. 

Eric Holzman, Rest I, 2009-13, 17 x 14 inches, oil on canvas

Eric Holzman, Sleepy Hollow III, 2009-14, 14 x 12 inches, oil on canvas

Eric Holzman, Tree & Car, 2014, 12 x 8 1/4 inches, oil on canvas

Eric Holzman, Forest at Crestwood, 2009-14, 10 x 12 inches, oil on canvas

Eric Holzman, Sleepy Hollow II, 2014, 18 x 14 inches, oil on canvas

Eric Holzman, Late Afternoon/Crestwood II, 2013-14, 10 x 10 inches, oil on canvas

Eric Holzman, Elm, 2008-14, 20 x 16 inches, oil on canvas

Images from the gallery website

31.12.14

2015

WISHING EVERYONE PEACE AND HAPPINESS IN 2015

Steven Alexander Studio, December 2014

29.12.14

Some Notable Shows from 2014

Eve Aschheim at Lori Bookstein 


Alain Biltereyst at Jack Hanley (image from gallery website)


James Bishop at David Zwirner 


Ross Bleckner at Mary Boone 


Frank Bowling at Spanierman Modern (image from gallery website)


Color As Structure at McKenzie - image, Jason Karolak (from the artist's website)


Robert De Niro Sr at DC Moore 


Tomory Dodge at CRG 


Rackstraw Downes at Betty Cunningham (image from gallery website)


Robert Gober at MoMA (image from museum website) 


 Jenny Holzer at Cheim and Read


Chris Martin at Anton Kern 


Matisse Cutouts at MoMA 


Joan Mitchell at Cheim and Read 


Richard Nonas at Fergus McAffrey 


Richard Pousette-Dart at Pace 


Eleanor Ray at Steven Harvey


Pat Steir at Cheim and Read 


Nina Tryggvadottir at David Findlay Jr (image from gallery website) 


Kara Walker at Domino Sugar Factory, and An Audience video at Sikkema Jenkins (image from internet)

8.12.14

RICHARD POUSETTE-DART at Pace


Richard Pousette-Dart, installation, Pace Gallery, NYC, 2014

Another museum quality revelatory show arrived this week in Chelsea, the exhibition of late paintings by Richard Pousette-Dart at Pace through January 10, 2015. One of the youngest of the first generation New York School painters, Pousette-Dart continued to refine his approach to painting into the early 1980s, creating a body of late work that, more than 40 years later, remains singular and potent. Not unlike the severity and radicality of Rothko's last work, these paintings are an important departure from Pousette-Dart's earlier gestural works, and a tougher, highly simplified elaboration of his more overtly "cosmic" pointillist paintings from the 1960s. Here the artist achieves a full realization of the metaphoric power of elemental form, creating undulating particular surfaces that coalesce into simple geometric configurations, while maintaining the sensation of perpetual flux. As Pousette-Dart worked his way out of the illustrative mindset of surrealism, he began to construct iconic objects that for him embodied pure transcendental energy. If these paintings in their boiled down immediacy look quite contemporary, which they do, they also remind us in their unabashed commitment, just how much courage it took to make them.

Richard Pousette-Dart, Time, Space, Window, 1982-83, 62 x 89 inches, acrylic on linen

Richard Pousette-Dart, Presence Number 3, Black, 1969, 80 x 80 inches, oil on linen

Richard Pousette-Dart, Radiance, Blue Square, 1978-80, 50 x 72 inches, oil on linen

Richard Pousette-Dart, Black Circle, Time, 1979-80, 90 x 90 inches, oil on linen

Richard Pousette-Dart, Transcendental Red, 1982, 50 x 72 inches, oil on linen

Richard Pousette-Dart, Eye of the Circle, 1975, 44 x 83 inches, oil on linen

1.12.14

GONÇALO IVO at Galerie Boulakia, Paris

CONGRATULATIONS Gonçalo - wish I could be there with you!


GONÇALO IVO - Paintings
December 1, 2014 - January 5, 2015



Gonçalo Ivo, 2014, oil on canvas

14.11.14

CHRIS MARTIN on Abstract Painting

Chris Martin has written a beautifully poetic and true piece in the Brooklyn Rail about abstract painting.  He perfectly articulates our shared endeavor -- read it HERE
Chris Martin, 2014

Thanks Chris

22.10.14

12.10.14

RICHARD NONAS at Fergus McCaffrey, NY

Richard Nonas, installation view

There is a rare and welcome opportunity to see the work of Richard Nonas at Fergus McCaffrey through October 25, 2014. This exquisite show includes a vast array of works from 1970 to the present. Nonas regards sculpture as inseparable from space, so although each piece operates independently, they are installed to orchestrate our experience of the whole. The space that surrounds the piece is as important as the piece itself, and the activation of the space by the placement of the various works and their interactions becomes a prime source of resonance. The pieces might be regarded as simple arrangements of basic geometric volumes -- but that would be ignoring what is unique and magical about this work, and what separates Nonas from some of his peers like Andre and LeWitt. Coming from a background as a social anthropologist, Nonas is attuned to the potential energies of specific materials and configurations as generators of meaning, as evocations of feeling. In this regard he actually has more in common with Beuys than Andre. Each object or arrangement contains a sort of trigger -- some little "glitch" that opens a door beyond the formal, to a timeless well of human history and consciousness. This powerful installation creates a charged space that pulls us into its archetypal matrix, and puts us in touch with our fundamental humanity. 

Richard Nonas, installation view

Richard Nonas, installation view

Richard Nonas, installation view

Richard Nonas, installation view

Richard Nonas, Untitled, 2014, 33 x 16 x 4.5 inches, steel

Richard Nonas, Untitled, 1990, 9 x 5.5 x 8.5 inches, steel

Richard Nonas, Untitled, 1992, 7.5 x 30.25 inches, steel

Richard Nonas, Untitled, 1985, 10.5 x 12.25 x5.25 inches, steel

Richard Nonas, Untitled, 2009, 24 x 17 x 7.5 inches, wood

Richard Nonas, Untitled (First Series), 2014, 7 x 4 x 4 inches, steel

Richard Nonas, installation view

Richard Nonas, Hack, 1970, 42 x 41.5 x 9.5 inches, steel

Richard Nonas, Steel Drawing, 5 Plates: One Red, One Yellow, 1988, 71.5 x 123 x .75 inches, oil paint on steel

Richard Nonas, Untitled, 1975/2014, 80 x 64 inches, oil stick on paper

Richard Nonas, Untitled, 1970, 44.5 x 56 inches, carpenter's glue on butcher paper