While Chelsea begins to stir back into something approaching normalcy, I'm continuing to show you exhibitions that took place throughout the fall. (There's never enough time to show everything when it's actually up.) These are painterly abstractions marked by transparency and strong, if lighthanded, brushwork. Color is mostly saturated, sometimes subtle. I'm doing my best to show you as much as possible before I go to Miami, because December will be all about the art fairs.
Carolanna Parlato, Behind the Sun, Elizabeth Harris Gallery
September 6 - October 6
High Summer, 2012, acrylic on canvas, 64.25 x 78 inches
Image from the Elizabeth Harris Gallery website
Carolanna Parlato's new body of abstract paintings, so different from the layers of opaque poured pigment in an earlier (and equally splendid) series, deals with light and transformation in nature. Her brushwork is gestural and expressive, marked by the occasional and initially unexpected introduction of spray paint. I respond to the palette, to the way the surface is built up through layers and then worked into without feeling labored. These are physical paintings that push, hover, clash, demand. I like the demand part. Acquiesce to the work.
Installation view of Parlato's show, with High Summer, right. Two of the three small works on the far wall are shown below
Above: July, 2012, acrylic and spray paint on canvas
Below: Sea Wall, 2012, acrylic and spray paint on canvas
Turning clockwise, HIgh Summer and Side Streaming
Side Streaming, 2012, acrylic ansd spray paint
Image from the Elizabeth Harris Gallery website
Continuing clockwise, Side Streaming and Wet Spring
Untitled, 2012, oil and pigment on canvas, 84 x 78 inches
I was not familiar with Monique van Genderen's work (she lives and works in Los Angeles), but I liked them--and I like posting them here, right after Carolanna Parlato's work, because the two artists share some formal and compositional elements. Van Genderen is the more graphic of the two, and her individual elements are more large scale, but there's a spatial sense, and a compositional quirkiness that relates the two.
Untitled, 2012, oil and pigment on canvas, 72 x 48 inches
. . . . . .
Sarah Hinckley, Everywhere Tomorrow,DM Contemporary
September 19 - November 17
Installation view, seen from the gallery entrance
DM Contemporary is far enough east on 29th Street that the surge came nowhere near the gallery. Like most of the area, however, it lost power for almost a week. Fortunately the gallery extended Sarah Hinckley's solo show. I hope you got to see it, because the subtlety of her paintings is hard to capture, especially for my little camera which struggles to integrate the gallery lighting with the natural light coming in from a bank of windows opposite the exhibition walls. (Disclaimer: I am represented by the gallery.)
An ever-present horizontal suggests that Hinckley's reference is landscape. In fact is is the sea and sky of her childhood (she grew up on Cape Cod) which informs the work. The subtle washes--often overlaid onto much brighter underpainting--recall the nuances of fog and mist or the changes in light at different times of day. Botanical references are sometimes forthright, sometimes all but imperceptible. The gorgeousness of Hinckley's work is balanced with the traces of her process--paint drips, rivulets of wash, tantalizing gimpses of what she has painted over.
Somewhere Over, 2012, oil on canvas, 52 x 48 inches
Image from the DM Contemporary website
I love this panoramic view from the second gallery looking back into the first. To the right of the doorway: Open Your Arms to the Sun, 2011, oil on canvas, 48 x 52 inches.
Below: A roughly 180 turn clockwise with Find a Better Dream, Another Place You Can Go, and Everywhere Tomorrow, which imspired the title of the show
Image from the DM Contemporary website
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William Willis, Recent Paintings, Howard Scott Gallery
October 11 - November 24
Pale Presence, 2012, oil on canvas, 41 x 40 inches
William Willis's work draws from landscape, but not so much from the vast expanse as from the elements within it. The gallery press release cites "branch and antlers . . . streams and creeks . . .rocky landscapes." I respond to the formal geometry of the work, the way curve meets angle, or an arabesque rubs up against a jagged line. These are easel-size paintings, each with a rich and subtle palette.
The show is up through Saturday. If you're in town for the holiday, go--but call first, because on holiday weekends you just never know.
"Chromatic Reasoning" at Conrad Wilde Gallery, Tucson
The December opening has been postponed while the new gallery space is being finished. Click pic for details (to come). Here, "Chromatic Geometry 15"
2012 Miami Art Fairs
Looking for my coverage of the Miami Art fairs? Click the pic to access a full list of this year's posts (or click onto "Art Fairs" under the header for seven years' worth of reports). Here, Rose Wylie at Michael Jannsen Gallery, Berlin, at ABMB
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In the Studio
After a few false starts with the title, this series of 25 graphite-on-paper drawing is officially "Diamond Lattice." This is is #22, 2012, with micaceous pigment and cold wax, 30 x 22 inches. Click pic to see more work from the series
Recent: Buddy of Work
Henry Samelson asks artists to show two images: their primary work and a peripheral or related project. The connections are interesting. My own "buddies" are posted now. Click pic to link
Now: Adler & Co. Gallery
An ever-changing installation of paintings from my "Silk Road" series is up now at Adler & Co. Gallery, 77 Geary Street, San Francisco. Photo courtesy of Adler & Co. Gallery
Recent: "Rolling in the Deep" at Kenise Barnes Fine Art
For her summer show, Kenise Barnes selected four painters who conjure physical or metaphorical depth via the medium of encaustic: Christine Aaron, Cecile Chong, Lorraine Glessner and myself. Above: my "Coming Up For Air" visible through the front window. Click pic for a link to my walk-through. A link to D. Dominick Lombardi's HuffPo review is below
Clickherefor D. Dominick Lombardi's review of "Rolling in the Deep" on the Huffington Post.
"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.
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
Boston Globe Style Watch
November 13, 2011: Four of my small paintings are in this Cambridge apartment, which was the subject of a Style Watch feature. Click the pic to enlarge the image and read the story. Thanks to Arden Gallery, Boston, for representing me in Massachusetts (and beyond)
All texts and photography are by me unless otherwise noted. If you wish to excerpt a small portion of a post, you are free to do so under the Creative Commonsnon-commercial copyright--i.e. you must credit me as the author/photographer, and you must provide a link to my blog. Thanks.
My work is chromatically resonant, physically tangible, and compositionally reductive. I call it lush minimalism. But don't call me an "encaustic artist." While encaustic on panel is my primary means of expression, I approach artmaking in other mediums--acrylic on canvas, gouache on paper--in exactly the same way.
THE FIRST CONTEMPORARY BOOK ON ENCAUSTIC PAINTING. AND STILL THE BEST
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.