November 19, 2014, 9:30am
There has been a lot of talk as of late about the receding importance of brick and mortar gallery spaces and a perceived dearth of quality programming at those that still exist. While the internet and the general ease of global communication are sited as causes, the rise of the art fair is most often blamed for the trend. I did not see a lot of evidence of gallery Armageddon as I conducted my monthly review of painting shows. Even on the eve of art world spring break (aka Miami art fair week), dozens of commercial spaces around the country are mounting first-rate solo and group exhibitions.
New American Paintings’ alumni look great this month. In Chicago, one of the city’s most interesting emerging artists, Dan Gunn, has new abstract work at Monique Meloche, as does Terence Hannum at Guest Spot in Baltimore and Seth Adelsberger at ltd los angeles. In New Orleans, Havana-born local legend Luis Cruz Azaceta looks good at Arthur Roger Gallery. My own gallery in Boston has been taken over by the great Franklin Evans, who is presenting new paintings in the context of a floor to ceiling installation. Former New York City dealer, and all around great guy, Jeff Bailey, has relocated to Hudson, NY, where, this month, he is presenting work by University of Iowa Professor and painters’ painter, John Dilg. In the City, Sarah McEneaney continues to blow me away with her suite of hard won new paintings at Tibor de Nagy (Be sure to read Roberta Smith’s review of the show in the New York Times.)
I want to give a special shout out to one of my favorite emerging artists, Jaqueline Cedar, who has four new large-scale paintings at Gallery 106 Green in Brooklyn. I first did a studio visit with her when she was finishing her B.F.A. at UCLA, and she was already a skilled painter. She subsequently attended Columbia and since graduating in 2009 has only gotten stronger and stronger as time goes by.
Some of the many strong solo exhibitions around the country this month include: Angelbert Metoyer at Deborah Colton Gallery in Houston; Donald Moffett at Lora Reynolds Gallery in Austin; a beautiful show of figurative works on paper by New York School founding member Jack Tworkov at Valerie Carberry Gallery in Chicago; Brian Bress at Cherry and Martin and a major show of new work by Jonas Wood in David Kordansky’s cavernous new gallery space, both in Los Angeles; and Whiting Tennis at Greg Kucera Gallery in Seattle. As usual, New York City is brimming over with strong shows. Top among them for me are: Bill Traylor at Betty Cunningham Gallery; Lily Ludlow at CANADA; Alexander Ross at David Nolan Gallery; Sean Landers at Petzel; R.H. Quaytman at Gladstone Gallery; Ridley Howard at Koenig & Clinton; Huguette Caland at Lombard Freid Gallery; Gladys Nilsson at Garth Greenan Gallery; Kara Walker at Sikkema Jenkins & Co.; and be sure to catch the work of emerging artist Ted Gahl in a project room show soon to open at Zach Feuer.
I am a huge fan of well-conceived group exhibitions of which there are a number around the country this month. Two in particular caught my eye, not only because they are well curated, but because, as a pair, they effectively speak to disparate, but vital tendencies within the realm of painting. In Los Angeles, Overduin & Co. presents “Seven Reeds,” a group exhibition that includes an international cast of five of the most talked about emerging artists on the planet – including Jacob Kassay, Julia Rommel and Fredrik Vaerslev - each of whom are pushing abstraction to new places. On the opposite coast in Brooklyn, The Journal Gallery has just opened “The Great Figure.” In this show six artists working in a figurative mode – including Dana Schutz, Henry Taylor and past NAP cover artist Keith Mayerson – demonstrate how the oldest of subject matters can, in the right hands, be as relevant as ever. - Steven Zevitas, Publisher
October 09, 2014, 9:12am
After a sleepy summer the art world is once again up and running full tilt. Among the hundreds of painting shows on view throughout the country this month are close to three-dozen solos by New American Paintings’ alumni. They range from shows by talented emerging artists such as Samantha Bittman at Andrew Rafacz in Chicago and Suzannah Sinclair in Boston to strong mid-career painters such as the phenomenal Sarah McEneaney at Tibor de Nagy in New York City and Emily Eveleth at Miller Yezerski Gallery in Boston. I want to give a special shout out to my buddy Eddie Martinez, whose show at the new Kohn Gallery space in Los Angeles confirms what many already knew: Eddie is one of the best natural painters of his generation.
There is a lot of good abstraction on view this month. For those in New York City, the fearless Chris Martin has his debut at Anton Kern Gallery and the much-hyped Norwegian artist Fredrik Vaerslev can be considered at Andrew Kreps Gallery. Also in New York, co-curator for the 2014 Whitney Biennial and juror for our upcoming Northeast issue, Michelle Grabner, has just opened a must-see show at James Cohan Gallery. In Los Angeles, don’t miss Sam Falls at Hannah Hoffman and Pia Fries at Christopher Grimes Gallery. If you are in the Bay Area, visit Jessica Silverman Gallery to see the work of Hugh Scott-Douglas, who, like an increasing number of emerging artists, is obsessed with process.
While abstraction continues to look good this season, representational painting has been making a comeback and it owns the month. Over the past two years, more and more young artists have been engaging with imagery, in particular the figure. There are the aforementioned exhibitions by Sarah McEneaney and Suzannah Sinclair to consider. In New York City, emerging artist Gina Beavers continues to push impasto to the limits in her new group of paintings at Clifton Benevento and the virtuosic Angela Dufresne has a new suite of paintings with figure in landscape at Monya Rowe Gallery. Other shows of note around the country include: Storm Tharp at PDX in Portland, OR; Angela Fraleigh at Inman Gallery in Houston; Whitney Bedford at Carrie Secrist in Chicago; and the group show “Bedtime Stories” at Alpha Gallery in Boston.
In a quiet, but extraordinary exhibition at Matthew Marks Gallery in New York, LA-based artist Paul Sietsema renders carefully selected imagery with such technical dexterity that they almost revert to real objects. Sietsema is not interested in trompe-l’oeil for the sake of showing off; at the end of the day, his paintings and works on paper are a highly considered critique of the production of cultural objects and the roles that they play as they circulate. Taken as a whole, this exhibition represents the various aspects of how a painting can function. - Steven Zevitas, Publisher
December 03, 2013, 10:29am
Love them, or hate them, art fairs are now a firmly entrenched part of the art world’s commercial mechanism. Every art fair has its own unique feel and vibe. Some are stately and serene, while others are brash and raucous. Of all the smaller art fairs that take place annually, perhaps none is able to generate the amount of pure heat that the annual installment of the NADA Art Fait in Miami is able to. The VIP preview of NADA has consistently been one of the most eagerly anticipated events on the art fair circuit. On opening morning the biggest collectors in the world, and those on down the food chain, our lined up for what can only be described as a feeding frenzy.
This year’s installment of NADA, Opening Thursday December 5th, is sure to have manufacturers of tiny red dots working overtime to meet the demand. The fair can now be previewed on the excellent art web site Artsy. I spent some time checking it out and after the jump are ten things that are Must See as far as I am concerned. - Steven Zevitas, Publisher