7.07.2015

Traveling Light

View of Silk Road, my small solo at Kenise Barnes Fine Art, Larchmont


My Silk Road series has been traveling this year. Each exhibition receives a new group of paintings, and I've been able to fly, drive or walk to each gallery where the work is shown. Here you see an installation at Kenise Barnes Fine Art, where the show will be up through July 16. In the front room of the gallery is a beautiful show of paintings, Mirage, by Jackie Battenfield, up through July 11. What we share is soft palette and a sense of illumination that comes from deep within the work. Take a look. Even better, take the train to see the shows. The gallery is a short trip away on Metro North, with a Larchmont station a two minute walk from the gallery.

Views from each end of the wall. The gallery website shows most of the paintings individually. View the catalog of my work here



View of Jackie Battenfield's botanical paintings, from mid gallery looking toward the front
See the catalog of Jackie's work here and the newsletter here

On the opposite wall, view from the front of the gallery looking back

Pale Azure, 2014, acrylic on mylar mounted on panel, 40 x 50 inches


Ripe, 2014, acrylic on mylar mounted on panel, 24 x 30 inches


7.05.2015

Washington Color in Chelsea

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Fifty years ago, a handful of painters based in Washington, D.C., changed how we look at and think about painting. Taking advantage of the newly available acrylic paints at that time, they created geometric compositions, often applying the pigmented polymer directly into unprimed canvas. Their coolly measured work was light years away from abstract expressionist angst. In this exhibition at the Loretta Howard Gallery, we see one painting from each of eight artists.

Walking in from the elevator: Gene Davis, Untitled (P-108), 1961, magna on canvas

Looking to the right: Howard Mehring, Spring Is, 1963, acrylic on canvas

To the left of the entrance, roughly opposite the Gene Davis: Paul Reed, #2,  1963, acrylic on canvas
 Photo from the gallery website

Panorama of the large second gallery: Alma Thomas, Kenneth Noland, Sam Gilliam, Morris Louis
Click to enlarge

Detail of Sam Gilliam's Carrousel Change, 1970, acrylic on fabric
Gilliam liberated the canvas from its stretcher and frame. In doing so, he not only changed how we think about painting but opened the door for artists working in fiber 

Morris Louis, Gamma Alpha, 1960, acrylic on canvas

Alma Thomas, The Azaleas Sway with the Breeze, 1969, acrylic and graphite on canvas
With a recent solo at Michael Rosenfeld Gallery, and prominent placement in the new Whitney, as well as the White House, Thomas's legacy is having some well-deserved and long overdue attention

Detail below

Turning left from Alma Thomas, we come to Thomas Downing, with a view into the first gallery and the painting by Howard Mehring


Thomas Downing: Untitled, 1965, acrylic on canvas

Washington Color Painting Reconsidered was curated by Helaine Posner, senior curator of contemporary art at the Neuberger Museum of Art, Purchase, and Sue Scott, an independent curator and writer. The gallery has not provided an end date for the exhibition, which suggests that it will have an open-ended run throughout the summer. Since most galleries have summer hours different from their schedule the rest of the year, it would be wise to confirm when it's open.

The exhibition catalog can be viewed online here.

6.14.2015

Critical Mass., Part 2: On Cape Cod


The sign at Julie Heller Gallery; photo by Corina S. Alvarezdelugo

I just spent a couple of weeks in Provincetown to prepare for and direct the International Encaustic Conference, an event I founded and run in co-production with Truro Center for the Arts. As anyone from Massachusetts can tell you, the Cape is a place like no other. And Provincetown is a place like no other on the Cape. Just two and a half hours from Boston (when there's no traffic), P-town is light years away from the hot city, brushed by cool breezes and bathed in pristine light.

In terms of art, it's not New York City or even Boston, but that's precisely the point. Life across the Sagamore Bridge proceeds at its own pace. There is no rat race. But there's a creative community that has existed for over 100 years. There are some very good galleries showing very good art (in all mediums). I'll try to give you  a bit of a reportorial overview. 

Pavel Zoubok delivering the keynote talk at the Ninth International Encaustic Conference on June 6. His topic: Collage, Culture, and the Art World. Zoubok's eponymous New York City gallery is focused on a program that considers the myriad ways collage, assemblage and installation express modern and contemporary ideas

What do we talk about at an Encaustic Conference? There are plenty of demos with and talks on the topic of wax, but at the Saturday Morning Panel, which I moderate every year, it's business. This year's subject: Professional Practices: The Big Picture. This group of artists (who are also professors, curators, gallerists, ethicists, and writers) are all gallery-represented working artists with a collective 200 years of experience. From left: Timothy McDowell, Carol Pelletier, Jane Allen Nodine, Fanne Fernow, Miles Conrad, Wendy Haas, and me. Photo: Corina S. Alvarezdelugo


What do you do when you take over a hotel for the weekend? Have a hotel fair. This installation of prints by David A. Clark was one of the best

Photos above and below by the artist

Art spoken here. At the Provincetown Public Libarary, artists Deborah Kapoor and Molly Geissman showed their collaborative project: collages inspired by the letters of Emily Dickinson. Photo: the Internet

The announcement below. Photo: Corina S. Alvarezdelugo

The unique shape of the collages was inspired by an unfolded envelope. Each work was placed on a wide shelf

Notice the sails? The library was once the town's Heritage Museum . . .

. . . which houses a half-size replica of the fishing schooner, the Rose Dorothea. Library photo. More info here


The Galleries
Any trip to Provincetown must include visits to Schoolhouse Gallery, Julie Heller East, Albert Merola Gallery, Rice Polak, Kobalt, and A Gallery, all on Commercial Street. All but the latter are in the East End gallery district; A Gallery is in the West End, right next door to famed Spiritus Pizza


Panorama of Sang-Froid, the current show at Schoolhouse Gallery, up through June 24, with a few individual images below.  Sang-froid, the very opposite of hot blooded, is synonymous with coolness, or grace under pressure. Click pic to enlarge.
And here's a video tour of the show

Karen Freedman

Mike Carroll


Clark Derbes

Joanne Mattera
Two from my Silk Road series


Milisa Galazzi


Nancy Rubens collages and Jefferson Hayman gelatin and platinum prints


Nancy Rubens


Jefferson Hayman


At the Albert Merola Gallery, Michael Mazur drawings and Pat De Groot Paintings

Pat De Groot
Closer view below 

At Rice Polak Gallery, up now: William Carroll, above; Larry Calkins below. Carroll will be in a group show July 9-29

At Julie Heller East, the exhibition Casting Shadows, curated Deborah Winiarski, is up through June 18. From left Milisa Galazzi (barely visible); Nancy Youdelman on pedestal, Lynette Haggard, Deborah Winiarski, Youdelman, Fanne Fernow, Winiarski on right wall. Photo: Deborah Winiarski

Foreground: Fanne Fernow. Far Wall: Milisa Galazzi. Photo: Corina S. Alvarezdelugo

At Kobalt Gallery, Cherie Mittenthal in Connexions, through June 16. Photo by the artist


The Provincetown Art Association and Museum (PAAM) is featuring Robert Motherwell: A Centennial Celebration through July 16, in conjunction with the Fine Arts Workshop. There was no photography allowed, so I pulled this image from the PAAM website

Guess who's hanging with Rothko in the museum's bookstore?


Farther west along Commercial Street, A Gallery hosted an ambitious exhibition, One + One. Owners Adam and Marian Peck invited a number of Conference attendees, past and present, to each invite another artist. 

Adam Peck and Marian Peck
You can see more images from the exhibition on their gallery's Facebook page


From the entrance, a sweeping view of the front gallery
Below, a panorama of the small back gallery peeking back into the front (at right). Click pics to enlarge

Both photos courtesy of the A Gallery


Lovely pairing: Tracey Adams, top, and Laura Moriarty
Photo: Helen Dannelly



Binnie Birstein and Nancy Natale with their work, top and bottom respectively
Photo: Susan Lasch Krevitt


Over to Truro
In the next town over, Truro Center for the Arts at Castle Hill--Castle Hill for short--features a lively summer schedule of workshops and exhibitions. As co-producer of my Conference, it hosted Minimal/Maximal, a show open to conferees that was juried by Mike Carroll, director of Schoolhouse Gallery. I'm not an advocate of "encaustic shows" but we always choose a theme, and a good juror allows that theme to be fully explored within the selections, a few of which you see below.

 It also hosted The Incisive Line, curated by Debra Claffey, visible if you scroll down.

Partial panorama of Minimal/Maximal. Click to enlarge


Laura Moriarty


Susan Lasch Krevitt
Detail below


Lisa Zukowski 

In a marvelous small show in Gallery 10, an outbuilding on Castle Hill's campus. Debra Claffey curated The Incisvie Line, a four-artist exhibition that lconsidered the linear element within painting. 

Lisa Pressman, far wall; Amy Weil, Debra Claffey

Elizabeth Harris, Amy Weil


On the Castle Hill grounds: a sculpture by Andy Moerlin, who will be teaching at Castle Hill later this month


Note: Most of these exhibitions are no longer up. The Cape's short exhibition seasons means that most shows run for about two weeks. It's always best to check for exhibitions and times