Curated by Alyson Baker, Mark Dion and Marichris Ty, State Fair is a group exhibition themed around American rural life and uses the platform of the state fair as a means to examine topics such as animal husbandry, specialized horticulture, small scale farming, culinary arts, and the pageantry within these fields that occurs at fairgrounds across the country. The show will also incorporate work that references traditional craft, and the myriad of amusements, rides, competitions and entertainment that are presented as part of state fairs.

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Li Xubai / Clear Rhythm of Brook and Mountain / 2008 / Ink and color on paper / 25 3/4 x 25 3/4 inches (65.5 x 65.5 cm) / Goedhuis Contemporary

From the gallery:

Li Xubai’s work exemplifies the interpretation of much of the best Chinese traditional painting in that it subtly incorporates very contemporary stylistic themes embodied in an ostensibly classical aesthetic. It is this openness to the contemporary world that is so elusively expressed in these lyrical landscapes of what appear to be a traditional pictorial style.

Ten years ago in the NY Times Holland Cotter had this to say about Li Xubai:

His stippled, daublike brush technique creates an illusion of tangible form through tonal modeling (the effect is a bit like digital graphics). Yet nothing feels reliably solid. Rock outcroppings have a fungal sponginess; waterfalls are bursts of white light; mountain ranges hang suspended in air. The notion of the painted landscape as a mirror of subjective states here takes on a literal, anatomical cast, with streams and fissures suggesting blood vessels, sinews and musculature. {Read More…}

Li Xubia @ Goedhuis Contemporary 42 East 76th Street thru July 31.

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It’s Not Old Jersey: “The New Jersey Show” of the Art Students League of New York
Jersey City, N.J. –Works from more 30 New Jersey artists will be featured June 12-14 at the “The New Jersey Show,” at the 113 Design Co., 930 Newark Avenue, Loft #6 in Jersey City. Organized by the Exhibition Outreach program of the Art Students League of New York, the show includes traditional and contemporary work in all media and demonstrates the range of art-making happening both in Jersey and at the League.

Curated by the League’s John Baber, the show features works by Tim Anderson, Konstantine Angelopoulos*, Sherwin Banfield *, Marlene Bloom*, Elizabeth Bolden*, Dave Bruno, Sauman Choy*, Carole Dakake*, C.L. DeMedeiros*, Ricardo Devia*, Julieanne Dellert*, Christian Dobish, John Doyle*, George Ebbinghousen*, Lilian R. Engel, Mitsuko Finkelstein, Gordon Fraser*, Alex French*, Ed Giorgano*, Jean Graham*, Akihiro Ito, Jaine Jacobs*, Sharon Kendrick*, Joan Lesemann*, Tony Loftman*, John Mandile, Carole McDermott*, Laura Mae Noble, Berto Noso*, Satoshi Okada*, Adina Padden*, James Renzie Prater*, Louise A. Reid*, Cristian Ramirez, Ed Rochat*, Allon Schemool, Geoff Schmit, Brent Scowden*, Hanna Seiman*, Ella Sherman*, Margie Steinmann, Yoko Suetsugu, Tom Tacik*, Josh Torin*, Edward Vander Veld*, Matt White*, and Juan Gabriel Zorilla*.
(* Denotes New Jersey artists.)

Hours June 12-14 are: Friday reception: 6-10pm (free shuttle bus from the show to Journal Square PATH station); Saturday: 12-5 pm, and Sunday: 12-4 pm.

This exhibition is generously supported by the George A Ohl, Jr. Trust Foundation.

About the Art Students League
Founded in 1875 by artists, for artists, the Art Students League of New York provides affordable, studio-based art education of the highest quality to anyone with the interest in making art. Great artists have trained, taught, and exhibited at the League and enriched its community. Apprenticeships, classes, lectures, workshops, exhibitions, and residencies uphold the League’s commitments to support “artists and students who intend to make art a profession” and to cultivate “a spirit of fraternity among art students.”

Google Map:
930 Newark Ave, Jersey City, NJ 07306

I’ll have four pieces in the show…sneek peak here

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Ryoga Katsuma / Ethan Cohen Fine Arts

“My way of painting is that first, I feel free to paint like a child, and then, I choose a favorite color and theme. The rebuilding of these ideas on canvas comes from infinite ideas that only innocent children can have. To have child’s spirit is a special skill, and also the painting technique that only some of the experienced adults can have is the source of my art works.” {Read More…}

SHABU SHABU: New Visions
A striking group exhibition in honor of ACAW featuring leading contemporary Asian artists. Includes works by Ushio Shinohara, Ryoga Katsuma, Huang Yan, Naoto Nakagawa, Noriko Shinohara, Vasan Sitthiket, Ali Kazim, Nguyen Mahn Hung, Tang Hui, Pan Xinglei and Hu Renyi. Don’t miss a knockout opening night performance by the young action painter, Ryoga Katsuma.

18 Jay St.
(Bet. Hudson and Greenwich St.) MAP
Tel: 212-625-1250‎
www.ecfa.com

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Zhu Jinshi / The Distant Reaches Are Chaotic / 2007 / Oil on canvas / h: 39.5 x w: 47.2 in / h: 100.3 x w: 119.9 cm / M. Sutherland Fine Arts Ltd

As a factory worker in the 1970’s, Zhu Jinshi studied after-hours with an older artist, Li Zongjin, who had been trained in Western oil painting before the Anti-Rightist crackdown in the 1950’s. Zhu borrowed a book on Kandinsky and was transformed. After studying the text, Zhu realized that Western abstract art had ties to the two thousand year old intellectual and artistic traditions in China. From that point forward, Zhu has attempted to reconcile the two traditions in his artwork.

Zhu was part of the first influential avant-garde group of artists after the Cultural Revolution, the “Stars Group” (Xing Xing), who challenged both aesthetic convention and political authority. The Stars’ use of formerly banned Western styles from Post-Impressionism to Abstract Expressionism was an implicit criticism of the status quo. In 1985, Robert Rauschenberg exhibited a retrospective of his work in the National Gallery and traveled to Beijing to lecture and meet artists. Zhu recalls having a heated debate with Rauschenberg. Zhu attempted to explan that the theoretical bases of Abstract Expressionism, such as gesture and the expressive nature of the brush, were not new, and actually had been part of Chinese aesthetic theory for centuries.

Zhu and his wife, Qin Yufen, an installation and fiber artist, left for Berlin in 1986, a full three years before the fall of the Iron Curtain. Zhu stopped painting for a short time, instead immersing himself in the study of Joseph Beuys, the German performance artist and theorist who championed the power of universal human creativity. During his stay in Europe, Zhu was also greatly influenced by German New Expressionism. His paintings became thicker and more impasto, expressive abstracts. Zhu also collaborated with his wife on several installation projects, but always continued to develop his abstract painting. In 1994, he returned to Beijing and began traveling back and forth each year, as he does today.

Zhu uses various implements, from flat broad wallpaper brushes to wok spatulas, to apply paint in calligraphic, spontaneous strokes. Upon closer observation, one also sees the hectic strokes resembling Western action painting. The effect is one of luscious texture and strong gesture, yet with reference to specific environments, ranging from demolished old neighborhoods in Beijng to homage to Cezanne’s landscapes. In recent years, Zhu has preferred much larger scale canvases; some measuring over twenty feet by twelve feet. {Read More…}

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Arturo Herrera / Come / 2008 / Collage, mixed media, graphite on paper / Triptych, each part 79.72 x 57.09 inches (202.5 x 145 cm) / sikkemajenkinsco.com

http://sikkemajenkinsco.com

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Raquel Mazzina / Jaune / 122 x 92 cm / oil on canvas / http://www.arthousegallery.com.au

Raquel Mazzina’s work is an exploration of the artist’s emotive response to landscape. Topographical appearances are left behind, concentrating on the light, atmosphere and spirit of place. This intuitive and emotive approach results in a sensuous and luscious painterly surface. Her masterful use of colour conveys the seasonal changes from Autumn to Spring. {Read More…}

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My first reaction to the visual and emotional qualities of a given space is rendered through my spontaneous tape drawings. My drawings are born through the communion between the material and the spiritual, wherein my own self is constantly reflected emptying itself. In creating restrained and refined expression with mundane, mass-produced masking tape, the juxtaposition of value-of both medium and of expression- underscores my effort to strike a balance between polarizing principles. Myself transferred into the black lines orchestrates the dynamism of energies generated between the architecture’s idiosyncrasy and its surroundings. Structural tensions are now liberated into a new ‘pictorial reality’ where the viewers are invited. As they step into these three dimensional drawings, their visual perception is expended to another dimension of time and space. {Read More…}

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I pulled out Robert Henri’s book The Art Spirit this morning and it opened to a Letter of Criticism he wrote to a student. It’s amazing how idealistic and optimistic they were back in the day and enthralled with Madame Blavatsky and the theosophists.

The object of painting a picture is not to make a picture–however unreasonable this may sound. The picture, if a picture results, is a by-product and may be useful, valuable, interesting as a sign of what has past. The object, which is back of every true work of art, is the attainment of a state of being, a state of high functioning, a more than ordinary moment of existence. In such moments activity is inevitable, and whether this activity is with brush, pen, chisel, or tongue, its result is but a by-product of the state, a trace, the footprint of the state.

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