Above, Miami Project: center right, Baker Overstreet at Fredericks & Freiser, New York City
Below, Art Miami: William Conger at Zolla/Lieberman, Chicago
In this post we visit Art Miami, Aqua Art, Context, Miami Project, Pulse and Untitled for a look at a range of paintings. If there's one thing I could say about painting at the fairs is that there's no one direction. It's probably more skewed to abstraction, but perhaps that's my own bias. Still, as I mentioned in the previous post, I tried to step outside my comfort zone to show you as wide a range as possible. In posts later this week and through the end of the month, I'll have a short report on small paintings, and I'll give you a taste of the materiality I saw--wax, textile materials, foam, stuff of all kinds--along with some of the quirky elements that popped up. Brains, for instance. And something I saw more of than at other fairs: installations of multiples. But let me offer this caveat: Any coverage of any fair--and especially many of them taking place simultaneously--is a job for many critics and commenters, so I urge you to read up: The New York Times, The Art Newspaper, Hyperallergic, Art Fag City, and anything else that seems pertinent. OK, allons-y.
Seven: Fabian Marcaccio at Bravin Lee Programs, New York City
Pulse: Manuel Ocampo at Conrads, Dusseldorf
Miami Project: Pamela Jorden paintings, Kirk Stoller sculpture at Romer Young Gallery, San Francisco
Pulse: Heather Gwen Martin painting, Margie Livingston painting block (you'll see this large in a bit) at Luis De Jesus, Los Angeles
Art Miami: Jonathan Meese at Galerie Michael Schultz, Berlin
Pulse: David Klamen at Mark Moore Gallery, Culver City, California
Above and below, Untitled: Jeffrey Kessel at Thierry Goldberg Gallery, New York City
Miami Project: Loren Munk, Four Art Movements, at Daniel Weinstein Gallery, Los Angeles.
This painting was high up on the wall, so in the absense of external cues to scale, let me tell you that it's 48 x 52 inches
Context: Ron Gorchov at Galerie Richard, Paris and New York
The second installation of "Swept Away" will take place at the Hunterdon Art Museum in Clinton, New Jersey, May 18-September 7. The show was curated by Michael Giaquinto for the Cape Cod Museum of Art last May to run concurrent with the Seventh International Encaustic Conference. With the new venue we have a second edition of the catalog, which you can view online for free.
Provincetown, June 6-8
This is the only professional event of its kind. Our conferees--painters, sculptors, printmakers, photographers, and artists working in a range of mixed media--come from throughout North America and Latin America as well as Europe, and as far away as Australia and New Zealand. Click pic for more info
2013 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 eight years' worth of reports). Here, Cary Smith, David Deutch and Todd Chilton at Feature, Inc., at NADA
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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.