There was a wealth of geometric expression in Manhattan last month. I photographed some of it. Then I went to Miami for the fairs and spent the subsequent two weeks blogging about them. I was prepared to let this New York report go--one has only so much time, after all--but in reviewing the images, I realized the work was too interesting to ignore. I made time. If you don’t go to New York regularly, I suppose it doesn’t make all that much difference when you see these shows en blog; and if you did see the shows, well think of this post as a bit of 2007 déjà vu all over again.
at Pace Wildenstein
at Luise Ross
Gregg has taken the lowly packing carton and turned it into geometric abstraction. Her symmetric shapes, reminiscent of totemic images, are from flayed carboard boxes, carton dividers, cup holders—the stuff of our throwaway culture—all coated with wax. Some works hang as relief sculptures; others are laid onto a wax ground. Technically these latter are more assemblage than painting, but painting embraces everything these days, and Gregg is a painter with a great sense of compostion and color.
Installation view of Gail Gregg's show at Luise Ross
Below, a work from the show
at Thatcher Projects
The Geometry of Seeing: Elaine Lustig Cohen
at Pavel Zoubok Gallery
Although I knew of Cohen’s work, I hadn’t realized the breadth of it. Thanks to the show at Pavel Zoubok and the impressive catalog with it, I saw a range of Cohen's work in this 40-year retrospective. Painter, collagist, sculptor and graphic designer, she has worked within a hard-edge idiom that has traversed fluidly within her various modes of expression. See more on the gallery's website.
A second part of this exhibition was held at the Julie Saul Gallery. I didn't get there, but you can visit the website to see more work.
The Geometry of Seeing: Elaine Lustic Cohen at Pavel Zoubok Gallery. This view looks into the gallery from the entry
Below, a view behind the desk
Alberto Burri at Mitchell-Innes and Nash through January 19
When you hear arte povera, you think Merz or Kounellis. Burri? Who knew? The exhibition is a 40-year-plus survey of the artist, who died in 1996. The work is varied but the constants are the materials--commonplace stuff like plastic, Celotex wallboard, burlap, clay--and a geometric sensibility that threads its way through the material and the years. Not surprisingly, Rauschenberg cited Burri as an influence. Read more and see additional images at the gallery website.
Above: Alberto Burri installation view
Below: Oil and gold leaf on Celotex--a little ricca with the povera
Next post: The geometric trail continues below Houston