20.10.18

JOHN WALKER at 499 Park Avenue

John Walker, Swept In, 2017, oil on canvas, 84 x 66 inches 

With all that is happening in New York museums and galleries, it would be easy to overlook this extraordinary group of recent paintings by John Walker, rather tucked away at the 499 Park Avenue lobby gallery (through March 30, 2019). Hanging in the massive corporate lobby on marble walls, Walker's muscular, rugged paintings are visualizations of human presence, and for those who walk through this cold space daily, must be a welcome reminder of their aliveness.

I have always thought of Walker as a landscape painter -- not landscape as seen, but landscape as felt, or as sensed in totality. These works are built as organized accumulations of rhythms. It is the rhythm of the pulse, the breath, the waves on the shore. The striations of thick impasto have a primal quality that supports their connection to these most fundamental impulses. In their scale, weight, and heavily worked surfaces, these paintings offer endless excursions into the depths of human sensibility.

John Walker, Swept In (detail)


John Walker, Champagne Day, 2017, oil on canvas, 84 x 66 inches 


John Walker, John's Bay Pollution, 2017, oil on canvas, 84 x 66 inches 


John Walker, Stacked, 2017, oil on canvas, 84 x 66 inches 


John Walker, Stacked (detail) 


John Walker, Installation view, 2018, 499 Park Avenue Gallery

9.9.18

GONÇALO IVO: New Paintings

Gonçalo Ivo, 2018, oil on linen, 180 x 120 cm

As artists get older, we often tend to drill down into a tighter and tighter focus, exploring increasingly minute nuances within a particular motif or idiom. For Brazilian painter Gonçalo Ivo, however, this way of working has never been of interest. Undoubtedly the most prolific painter I know, Gonçalo commands a visual vocabulary that is almost infinite, a creative energy that seem inexhaustible. He has inherited and inhabited deep affinities with the most fundamental human impulses to develop a life and a body of work that is infused with extreme sensuality, and that constantly reminds us of the potential richness of existence.

 Gonçalo Ivo, 2018, oil on linen, 180 x 120 cm

 Gonçalo Ivo, 2018, oil on linen, 180 x 120 cm


 Gonçalo Ivo, 2018, oil on linen, 180 x 120 cm


 Gonçalo Ivo, 2018, oil on linen, 180 x 120 cm


 Gonçalo Ivo, 2018, oil on linen, 180 x 120 cm


 Gonçalo Ivo, 2018, oil on linen, 180 x 120 cm


See more of Gonçalo Ivo's work HERE, including his magnificent Lamento series from 2012.
Read a wonderful interview with Gonçalo by Julie Karabenick HERE.
And read my essay about his work from the book: Gonçalo Ivo: Oratório HERE.

Gonçalo Ivo, Lamento (installation, Rio de Janeiro), 2012

Gonçalo Ivo, Lamento, 2011, oil on linen, 240 x 120 cm

21.7.18

CALL AND RESPONSE


Here are a few images from my exhibition titled Call and Response, curated by Spanierman Modern at The Pierre Hotel, New York (through September 30, 2018). I am most grateful to Gavin Spanierman for this beautiful installation, and for his vision in moving the work outside the gallery space, exploring alternative venues for exhibitions.

Steven Alexander, Generation 3, 2018, oil & acrylic on linen, 60 x 50 inches

Steven Alexander, (l) Arcade 8, 2018, oil & acrylic on linen, 42 x 36, (r) Is & Was 25, 2017, oil & acrylic on canvas, 60 x 50 inches 

Steven Alexander, Reverb 9, 2017, oil & acrylic on canvas, 72 x 48 inches 

Steven Alexander, Poet XIV, 2016, oil & acrylic on canvas, 72 x 48 inches 

Steven Alexander, Tracer 10, 2016, oil & acrylic on canvas, 42 x 60 inches

Steven Alexander, Arcade 8, 2018, oil & acrylic on canvas, 42 x 36 inches

Steven Alexander, Generation 4, 2018, oil & acrylic on canvas, 32 x 32 inches

31.5.18

RICHARD POUSETTE-DART at Bowdoin College

 Richard Pousette-Dart, Meditation on the Drifting Stars, 1962-63, oil on linen

 Richard Pousette-Dart, Meditation on the Drifting Stars, detail

One of the younger, and perhaps less famous, members of the first generation of New York School painters, Richard Pousette-Dart pursued a highly personal, quasi-mystical investigation that grew steadily more focused. An exhibition at the Bowdoin College Museum of Art in Brunswick, Maine (through September 16, 2018), titled Painting/Light/Space, features work from what I think is his most brilliant period, from the early 1960's to the mid-'70s. Here Pousette-Dart has worked his way out of Surrealism, and its depictive tendencies, arriving at a free and open dialogue with the painting language -- a direct transposition of pure sensation in which experience is embodied in color.

The large scale works in this thrilling exhibition are built of small dabs of thick paint, layered over time to form undulating atmospheres that are also crusty objects. Color relations are intuitively constructed and deeply soulful, reflecting a vision that is both ecstatic and meditative. These are timeless and expansive paintings that, in both intention and form, are as ancient as they are utterly contemporary.


 Richard Pousette-Dart, Golden Presence, 1961, oil on linen


 Richard Pousette-Dart, Magnetic Space, 1962, oil on linen


 Richard Pousette-Dart, Presence, Amaranth Garden #1, 1974, oil on linen


 Richard Pousette-Dart, Presence, Amaranth Garden #1, detail


 Richard Pousette-Dart, Hieroglyph Number 7 (Hieroglyph of Light), 1968-69, oil on linen


 Richard Pousette-Dart, Hieroglyph Number 7 (Hieroglyph of Light), detail


 Richard Pousette-Dart, White Silence, 1974, acrylic on canvas


Richard Pousette-Dart, Radiance Number 8 (Imploding Red Light), 1973-74, oil on linen

14.5.18

TEFAF NY 2018

Here are just a few of the many outstanding works shown at the TEFAF Fair, Park Avenue Armory, May 4-8, 2018.

 Giorgio Morandi at David Zwirner


 Joseph Albers at David Zwirner


 Brice Marden at Gagosian


Pierre Bonnard at Wildenstein

27.3.18

New Works on Paper

Here are a few of the small paper pieces I've been working on lately.

 Steven Alexander, Untitled, 2018, oil and acrylic on paper, 10 x 8 inches

Steven Alexander, Untitled, 2018, oil and acrylic on paper, 10 x 8 inches 

Steven Alexander, Untitled, 2018, oil and acrylic on paper, 10 x 8 inches 

Steven Alexander, Untitled, 2018, oil and acrylic on paper, 10 x 8 inches 

Steven Alexander, Untitled, 2018, oil and acrylic on paper, 10 x 8 inches 

Steven Alexander, Untitled, 2018, oil and acrylic on paper, 10 x 8 inches 

Steven Alexander, Untitled, 2018, oil and acrylic on paper, 10 x 8 inches 

Steven Alexander, Untitled, 2018, oil and acrylic on paper, 10 x 8 inches 

Steven Alexander, Untitled, 2018, oil and acrylic on paper, 10 x 8 inches 

Steven Alexander, Untitled, 2018, oil and acrylic on paper, 10 x 8 inches

7.3.18

DENNIS OPPENHEIM at Marlborough

Dennis Oppenheim, Violations, 1971-1972, installation with b&w videotape w/sound, monitor, hubcaps 

There's a reprise of a wonderful iconic installation by Dennis Oppenheim in his heyday, at Marlborough Contemporary through March 17, 2018. 

The piece, titled Violations, is a collection of stolen hubcaps, and a videotape of Oppenheim stealing each one using a large screwdriver. The loud screeching of the hubcaps being pried from their housing, over and over again, reverberates through the gallery at about 10 second intervals.

In the press release, Oppenheim describes the piece as "evidence of 103 misdemeanors"....but it is also about a primal process of making art by stealing, and the ritual of creating collections of shiny objects.


Dennis Oppenheim, Violations, 1971-1972, detail 


Dennis Oppenheim, Violations, 1971-1972, detail