Color Talks

In early November Doris Mukabaa Marksohn, owner of dm contemporary in Manhattan, invited me to curate an exhibition. I'd been wanting to put together a color show and even had a mental selection of the work of artists whose studios I'd visited and wanted to see together.

"When would the show be for?" I asked, thinking spring or summer.
"Mid-January to the end of February," she said.
I took a deep breath and said yes.

Talking color at dm contemporary

In A Few Conversations About Color we see what happens when seven colorists allow their work to take part in a visual discourse. In curating the exhibition I brought together these artists (myself among them) who work formally in a reductive or geometric mode and who collectively employ a range of mediums to express their chromatic strategies. Within those parameters, we explore structure and gesture, working in a way that is physically vigorous or conceptually driven, materially rich or coolly uninflected. There’s no black or white here, in fact or in concept, as the fabric of this exhibition is one of chromatic interaction.

You can view an online version of the catalog here, designed by Ruth Hiller with my essay, images of the artists' work, and their own words about their work. In this post, let me take you on a virtual tour of the exhibition, in the beautifully illuminated gallery space, interspersed with some artist-provided images of work in the show. The artists are Joanne Freeman, Ruth Hiller, Damien Hoar de Galvan, Julie Karabenick, Matthew Langley, Joanne Mattera and Nancy Natale.The exhibition is on through February 28, with hours and info here

We're standing in the hallway, entrance door just past our left shoulder, looking  into the gallery's two main exhibition rooms. (There's another gallery to our right, and we'll get to that later)

 Ruth Hiller, left; Julie Karabenick on wall in middle distance; my installation on far wall

Ruth Hiller, Skew 11.13, 2014, acrylic on plexiglass

Julie Karabenick,  #11, 2013, 2013, acrylic on panel

Walking into the large central gallery: Joanne Freeman at left; Julie Karabenick

Joanne Freeman,  Roxbury (A) and Roxbury (B), both 2013, oil on canvas

Looking from the central gallery into a segmented adjacent space with work by Matthew Langley, center, and Julie Karabenick on far wall

Julie Karabenick
Above: #13, 2013, 2013, acrylic on panel
Below: #12, 2013, 2013, acrylic on panel

Below: Panning left into the alcove to see work by Ruth Hiller

Full view of the alcove, with paintings by Matthew Langley and Hiller

I am taken not only with the chromatic conversation between these two artists, but by the repartee provided by the vertical divides in their work
Matthew Langley
Above: Bright Earth, 2014, oil on canvas
Below: Red Sails, 2014 oil on canvas

Ruth Hiller, intersection 11.4, 2014, pigmented beeswax on panels

Across from the installation of Langley and Hiller's work is a pedestal with three small sculptures by Damien Hoar de Galvan, each Untitled, from 2013 or 2014, made scrap wood and various paint. The compositions of colored shards converses with Karabenick's pristine compositions . . .

. . .as well as with the elegantly rough-hewn constructions of Nancy Natale, whose three works are on the wall to the right of the pedestal 

Nancy Natale, Paris Passion,  2013, mixed media

Are you oriented?
Now let's head back through the center gallery and over to a third gallery to the right of where we entered

We pass Matthew Langley's Harvest and face Joanne Freeman's small White (b) . . .

. . . peeking into the office gallery, where we see Ruth Hiller's . . .

. . . Superdrive, 2014, pigmented beeswax on panel . . .

. . . facing a wall of constructed works by Nancy Natale and Damien Hoar de Galvan, continuing a conversation that began in the other gallery

Nancy Natale, Globalization, 2013, mixed media

Damien Hoar de Galvan, Untitled

Before we leave, let me show you the installation of  paintings from my Silk Road series, shown below with the spacing  I'd conceived for the installation

The exhibition is up through February. Gallery info here. Catalog viewing here.


Fair and Loathing: Structure and Material, Part 2

Fair and Loathing: The Best of Times, The Worst of Times 
Fair and Loathing: Coincidences, Trends and a Coupla WTFs
Fair and Loathing: Big Paintings
Fair and Loathing: Art? Not Art?
Fair and Loathing: Small and Mid-Size Paintings
Fair and Loathing: Mid-Century Abstraction 
Fair and Loathing: Structure and Material, Part 1

Sheila Hicks, detail of installation shown below

We ended with Sheila Hicks in the last post, so that's where we resume. Up to a decade ago, much of the work you see here might have been shown in more limited circumstances--craft fairs and dedicated craft museums, for instance. New recognition for longtime "fiber artists" like Hicks; the acknowledgement of craft materials or techniques for artistic expression, as Polly Apfelbaum, Kathy Butterly, Nicole Cherubini and Arlene Shechet exemplify; and indeed, the blurred line between art and craft have given us a richer art-making and art-viewing experience.

Hicks installation, Lares and Penates, 1990-2013, 98 elements, installation variable, at Sikkema Jenkins, New York City; ABMB

Another view of that fabulous wall and an individual piece below 

Diana Molzan at The Hole, New York City; NADA

Barbara Chase-Riboud, Malcolm X #11, 2008, polished bronze and silk, at Michael Roselfeld Gallery, New York City; ABMB

Detail below

Liza Lou, Gild Amber/Divide, 2012-2014, woven glass beads, at White Cube, London: ABMB

Detail below

El Anatsui, Delta, 2014, found aluminum and copper wire, at Jack Shainman Gallery, New York City; ABMB

Detail below

Davide Balula, Artificially Aged Painting (Wet, Dry, Wet, Dry, Wet, Dry), 2014, factory primed canvas, at Galerie Rodolphe Janssen, Paris; ABMB

Detail above
Full view below

Derrick Velasquez, Untitled 103, vinyl strips over walnut form, at Robischon Gallery, Denver; Miami Project

Ayan Farah at Almine Rech, Paris; ABMB

Detail below, which shows stitched strips of dyed cloth

Jumana Manna, Captain Charles Warren or Claude R. Conder's Neck, 2014; egg cartons, plaster, burlap, wax, at CRG Gallery, New Work City; ABMB

The egg cartons were a crafty surprise, but the structure itself is surprisingly interesting.
Detail below

More in the don't-throw-anything-out department:
Evan Holloway, Figure Form with Batteries, 2014, steel, plaster, spent batteries, at Xavier Hufkens, Brussels; ABMB

Arlene Shechet, Build to Last, 2014, glazed ceramic on steel base, at Sikkema Jenkins, New York City; ABMB

Detail below

Franz West, Syntagma, 1998, papier mache, wood, gauze, plaster and paint, at David Zwirner, New York City; ABMB

Kathy Butterly glazed clay sculpture with an Albers painting at Tibor de Nagy, New York City; Miami Project

Nicole Cherubini at Samson Projects, Boston; Untitled

Polly Apfelbaum, glazed porcelain, at Galerie Nachst St. Stephen/Rosemarie Schwartzwalder; ABMB

Some individual pieces below

Paul Scott, Scott's Cumbrian Blue(s), Ferrin Contemporary, Cummington, Massachusetts; Miami Project

Individual objects above and below

Venske and Spanle, carved marble, at Thatcher Projects, New York City; Miami Project

Carved marble!

Ross Bonfanti, cement-cast plush toy, at Projects Gallery, Miami; Aqua Art

Nancy Rubins, Our Friend Fluid Metal, Chunkus Majoris, 2013, via Gagosian Gallery, at Fieldwork,  on the grounds of the Bass Museum of Art

Th-th-th-that all (for this year), Folks

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