28.11.17

In the Studio

Steven Alexander, Voice 5, 2017, oil & acrylic on canvas, 72 x 48 inches

26.11.17

JACQUELINE HUMPHRIES at Greene Naftali

Jacqueline Humphries, One Cat, 2016, oil on linen, 100 x 111 inches


Jacqueline Humphries, One Cat, 2016, Detail


If you are in New York, don't miss the exhibition of new paintings by Jacqueline Humphries at Greene Naftali through December 16, 2017. Throughout her history, Humphries has made adventurous paintings that revel in process and materials, operating in a nebulous area between painterly sensuality and theoretical commentary. With these new paintings, she has outdone herself on both counts -- a group of ten very large canvases that are deeply luscious and conceptually brilliant. Working with laser cut screens of images from techno-pop culture -- emoji symbols and ASCII code -- she applies thick oil paint through stencils of tiny images that form blocks of irregular grids, or from a distance, supple textures. These elements overlay thick gestural fields of oil paint, creating amalgamated surfaces that appear mottled or aged. Up close, the recognition of the screened images becomes dominant, creating beautiful tensions as the viewer's perception changes with proximity. These are serious paintings with a wonderful sense of humor, and sly intelligence. They explore and embody the dilemmas of painting now, and emerge with beauty, optimism and authority.

Jacqueline Humphries, o://:hddd, 2017, oil on linen, 114 x 127 inches


Jacqueline Humphries, o://:hddd, 2017, Detail


Jacqueline Humphries, ???~, 2017, oil on linen, 100 x 111 inches


Jacqueline Humphries, ???~, 2017 Detail


Jacqueline Humphries, /%%%|, 2017, oil on linen, 114 x 127 inches


Jacqueline Humphries, /%%%|, 2017, Detail


Jacqueline Humphries, TQ555, 2017, oil on linen, 100 x 111 inches


Jacqueline Humphries, installation view, Greene Naftali, NYC

27.10.17

ALISON HALL at TOTAH

Alison Hall: unannounced at TOTAH on Stanton Street through December 17

Alison Hall, Ancestral, 2017, oil, graphite, plaster on panel, 91 x 71 inches

Alison Hall makes paintings on panels coated with Venetian plaster, some painted black and some painted a deep ultramarine. These supple black or blue fields become the "arenas" for an intricate dance of graphite mark-making on a grid of tiny dots. The silvery graphite floats like a mirage on top of the dark matte fields, then disappears as the viewer's position changes. The marks follow a systematic program, but the system is often interrupted by glitches or directional changes. Particularly in the two large paintings here, the combined effect of the field and the marks assumes an intuitive organic quality, like dark flowing water, or constantly shifting winds. In many of the smaller works, the dot matrix forms a continuous grid against a blue or black field, evoking a schematic night sky, or Giotto's luscious Arena Chapel ceiling - embodiments of the infinite or the sacred. There is an immediate sense of necessity embedded in these works, and in the arduous nature of Hall's process - a deep connection to cultural history, to the emotional resonance of tradition, and to the inherent humanity in the ancient practice of making. 

Alison Hall, Ancestral, 2017, detail


Alison Hall, Maiden, 2017, oil, graphite, plaster on panel, 91 x 71 inches



Alison Hall, Shroud X, 2017, oil, graphite, plaster on panel, 9.5 x 7.5 inches


Alison Hall, Sacristy, 2017, oil, graphite, plaster on panel, 13 x 11 inches


Alison Hall, Soffito I, 2017, oil, graphite, plaster on panel, 13 x 11 inches


Alison Hall: unannounced, Totah Gallery, NYC 

Images courtesy of TOTAH

25.10.17

JOHN ZURIER at Peter Blum

John Zurier: Stars Without Distance at Peter Blum on Grand Street through November 11

Like a Zen master, Zurier makes paintings that seem at once effortless, and impossible. In their spare lyricism, these works breathe with light and space, and yet remain utterly physical, paint scumbled and scraped into the nubby linen substrate. The painting is regarded as a sensual object, every nuance considered. Minuscule elements such as isolated spots of color or faint straight lines take on monumental importance, moments of punctuation in compositions that float as close to nothingness as possible. Zurier's color evokes an atmosphere of longing, as though to transcend the constraints of material, while reveling in its brittle tactility.

John Zurier, Late Afternoon in Three Parts (Elsewhere), 2017, glue-size tempera on linen, 84 x 58 inches


John Zurier, Late Afternoon in Three Parts (Elsewhere), 2017, detail


John Zurier, Hvasst, 2017, glue-size tempera & oil on linen, 27 1/2 x 19 5/8 inches


John Zurier, Brim, 2017, oil on linen, 90 x 60 inches

John Zurier, Taktur, 2017, oil on linen, 35 x 46 inches


John Zurier, Taktur, 2017, detail


John Zurier, Hljoo 2017, glue-size tempera on linen, 90 x 52 inches


John Zurier, Dalalaeda (Seyoisfjorour), 2016, glue-size tempera & oil on linen, 30 x 20 inches


John Zurier: Stars Without Distance, Peter Blum Gallery, NYC (image from gallery website)

24.10.17

AD REINHARDT at Zwirner

Ad Reinhardt Blue Paintings at David Zwirner, just closed on October 21

Ad Reinhardt, 1950, oil on canvas

This museum caliber exhibition presented a rare opportunity to see works from about a five-year period, focused on a deep exploration of the color blue. Here Reinhardt worked up to, and achieved the slow nuanced contrasts of the later black paintings, but with the retinal punch and metaphorical expansiveness of a vast array of blues. The show was breathtaking in its scope, and in its emotional presence. Reinhardt, very early on, hit notes of compressed monochromatic intensity that escaped even late Rothko. 

Ad Reinhardt, Number 88 (Blue), 1950, oil on canvas

Ad Reinhardt, Abstract Painting Blue, 1952, oil on canvas


Ad Reinhardt Blue Paintings, David Zwirner Gallery, NYC


Ad Reinhardt, Abstract Painting Blue, 1952, oil on canvas


Ad Reinhardt, Abstract Painting Blue, 1952, oil on canvas


Ad Reinhardt, Abstract Painting Blue, 1952, oil on canvas


Ad Reinhardt Blue Paintings, David Zwirner Gallery, NYC (image from gallery website)

29.6.17

EFFORTS OF AFFECTION at Gremillion & Co


Here are a few images from my show (just closed), Efforts of Affection - A Decade of Painting at Gremillion & Co Fine Art in Houston. It afforded a rare opportunity to show a group of paintings from the past ten years along with some very new works. Many thanks to Ron Gremillion and all my dear friends and colleagues in Houston. It was a pleasure as always.





In the Studio

Steven Alexander, Synchro 4, 2017, acrylic on canvas, 30 x 24 inches

22.6.17

May and June in New York

Alain Biltereyst at Jack Hanley 


Back Room at Cheim & Read -- Joan Mitchell, Louise Bourgeois, Ron Gorchov


Hybrid Form at Margaret Thatcher -- Kevin Finklea (above), Frank Badur, 
Omar Chacon, Freddy Chandra, Ted Larsen, Joanne Mattera, Richard Roth  


Felix Gonzalez-Torres at David Zwirner 


 Ellsworth Kelly at Matthew Marks


Jill Moser at Lennon Weinberg


David Novros at Paula Cooper 


Mike Solomon at Berry Campbell


Don Voisine at McKenzie