Judy Pfaff at Ameringer/McEnery/Yohe through October 16
No information on the gallery website for this work
As an artist who finds inspiration in the order of the grid, I can get a bit twitchy around tangles. Judy Pfaff and Jennifer Steinkamp both have solo exhibitions in Chelsea in which entangled elements are the essence of the work.
Judy Pfaff’s show, Five Decades, I love. No twitching here. In the front gallery of Ameringer/McEnery/Yohe four large wall-hung sculptures push out into the center of the room. I wish the space were larger so that each work could have more breathing room; on the other hand, the proximity of the works pulls you into an intimate relationship with each one. There’s nothing you can do but get up close and personal. And for Pfaff’s work, that means getting to peer past the burgeoning form into the structure of the work itself. .
Detail of the work shown top
Judy Pfaff: Es Possible, 1989, painted wiggle board and steel, 96 x 144 x 48 inches. Detail below:
The show is a survey, with work from the Seventies on. The hallway features prints, including some with encaustic, which give them a materiality in two dimensions. The back gallery, illuminated by a large skylight, holds two works, one a single free-hanging work, linear and volumetric, rather more like dimensional drawing than scuplture. Five Decades is up through October 16.
Judy Pfaff: Los Voces, 1992, lacquered steel, steel, aluminum wire, 96 x 123 x 96 inches
Jennifer Steinkamp’s installation at Lehman Maupin, on the other hand, made me twitch. Normally I enjoy Steinkamp’s work. This time, not so much (though I love the simplicity of the installation). Three videos, one projected on each of the gallery’s walls, feature video animations of kinetic interlacements. My first association was to knitting, but as the blue and red strands slithered and undulated across the screen, the associations became more organic—veins and arteries, then worms and eels. It’s not a show you want to see when you’re tripping, I’ll tell you that. It’s up through October 23.
Above and below: Jennifer Steinkamp at Lehman Maupin
Both works are from the Premature series
By chance, at the James Cohan Gallery across the street, one of Ingrid Calame’s paintingsfeatured a similar—and altogether more inviting—tangle. While the exhibition features some of Calame’s tradmark tracings, the artist also showed oil-on-aluminam-panel paintings derived from the markings on a factory floor. The show, Swing Shift, ran through October 9.
Ingrid Calame at James Cohan Gallery: Arcelor Mittal Steel Shipping Building One, Right Nos. 274, 275, 277, 2010, oil on aluminum, 36 X 72 inches .
Artist Annell Livingston writes about my work for the new blog, Vasari 21, founded by Ann Landi. Click pic for info and a link
Recent Solo: "Silk Road"
"Joanne Mattera: The Silk Road Series" was at Kenise Barnes Fine Art in Larchmont, New York, May-July. Some paintings are available for viewing at the gallery. Click pic for gallery info
Recent: August Geometry
More than just a summer show. Au-gust: adjective, respected and impressive. At the Marcia Wood Gallery, Atlanta. Click pic for info
I'm having a great year of exhibitions and catalogs. This volume, published by Space Gallery, Denver, on the occasion of the exhibition, "Pattern: Geometric|Organic," is viewable online and available for sale as a hard-copy volume. Click pic for exhibition info and a link to the catalog. That's my "Chromatic Geometry 29" on the cover
James Panero Reviews Doppler Shift
Writing in The New Criterion, Panero calls Doppler Shift "a smart group show, " noting the work of "artists who interest me most these days." There's a nice shout out to Mary Birmingham, the curator; to Mel Prest, who originated the concept; and to me, among others. Click pic for the review
Search This Blog
"Textility," curated by Mary Birmingham and myself for the Visual Art Center of New Jersey, Summit (where Birmingham is the chief curator), looked at contemporary painting, sculpture and work on paper in which textile elements were referenced or employed. The exhibition is over, but you can see this exhibition on line. Click on the links below to read and see more.
Review of Textility
Click pic to access review. Then click on page images to enlarge them for legibility
Thank You, Ivan
Ivan Karp, legendary art dealer, 1926-2012. Photo by Melanie Eve Barocas. Click pick for my tribute to Ivan, where your comments are welcome
New Digital Prints
Above, "Silk Trail 386." Below: "Silk Trail 339." Both 2012, unique digital prints on 11 x 8.5 inch archival Epson paper. Click either image to see more and find out where they are available
Miami Nice from Artcritical
December 2, 2011: “ . . . stand-out exhibits at Aqua included . . . the funky abstractionist stable of Conrad Wilde Gallery of Tucson, Arizona, amongst them the sensual encaustic monochromes of Joanne Mattera and the biomorphic reliefs of Ruth Hiller."--David Cohen, artcritical.com. Click pic for entire review. Above: John Dempcy, Hiller, Mattera
Miles Conrad, director of Conrad Wilde Gallery, Tucson, and me at the Aqua Art Fair. Photo: artcritical.com
My book, The Art of Encaustic Painting, was published by Watson-Guptill in 2001. It's the first commercially published book on contemporary encaustic. There are three sections: history, with images of the famed Greco-Egyptian Fayum portraits; a gallery of contemporary painting and sculpture (including the work of Jasper Johns, Kay WalkingStick, Heather Hutchison, Johannes Girardoni and myself), and technical information, including an interview with Michael Duffy, a conservator at the Museum of Modern Art.