Merrill Wagner / Large Flower Small Owl / 2006 / Paint on steel / 87.75 x 82.25″ / sundharamtagore.com
I checked out this show this past week. I wasn’t familiar with Merrill Wagner’s work, but I loved how she painted with the steel. It’s interesting, Richard Serra’s work makes you really feel the presence and the weight of the steel, whereas with Merrill’s work I found myself enchanted with the surface, the rust, the marks left by the heat of forging, etc. There was a delicacy and lightness about the steel.
Wagner’s oeuvre explores the possibility of steel and slate as a painterly surface. Wagner begins with found materials, either die-cut scraps of steel, or pieces of slate, and transforms them into abstract landscapes or flowers. She imbues the surface with an unexpected softness yet still maintains an architectural form. Painted directly from nature, her forms allude less overtly to geometry than to a structural topography. Her assemblages are suspended by magnets giving them a floating quality. Her innovative utilization of the dichotomy between the softness of the pigments and her subject and the rigidity of her surface has earned her the acclaim of the art world.
Merrill Wagner @ Sundharam Tagore, 547 West 27th Street, through 10/15Tags: merrill wagner, original abstract art, art, Sundharam, new york famous artist, cat art paintings
October 6, 2008 No Comments
Cecily Brown / Untitled (#38) / 2007 / Oil on linen / 12-1/2 x 17 inches (31.8 x 43.2 cm) / www.gagosian.com
A number of people have been asking lately why I haven’t posted anything recently. The answer is that I have been meaning to, but I’ve just been super busy and the blog has gotten the short end. Anyway….
I’ve been down to Gagosian a few times over the last couple of weeks to see the Cecily Brown show. The first time I went I was impressed with the work but something bothered me and I couldn’t figure out what it was. After going back and spending a good amount of time looking at the work and being in the space I realized the problem, the lighting in the gallery kills the drama of the paintings. It is just too bright in the gallery to really enter into the paintings. The drama of her paintings is in the swelling volumes and the internal character of the light she creates. The bright lighting of the gallery illuminates the dark areas, renders visible all the brush strokes, and the reflected light off the white walls of the gallery overwhelms the light areas of the canvas. The overall effect is to flatten the canvas into a collage of energetic brushstrokes with color.
This actually struck me when I was looking at some of the smaller canvases in the show. Looking at these works I could really see the connection to Rubens, Tintoretto, El Greco, both in the compositional structure and the swelling weightless forms hovering and suspended in space. I also began thinking about how those paintings were painted for candlelit cathedrals and castles. How the dim lighting of the space really elevated the drama of the darks and lights, allowing the swelling figures to really explode out of the canvas. When I turned around to look at the larger works in the show, especially the Sam Mere series, I really felt like I was missing something.
I’ve often read Cecily Brown’s work compared to De Kooning’s, and while they both engage in figurative abstraction, I think it will be interesting to examine their approaches over the next few days to see how differently they put paintings together. In the meantime, definitely check out the show.
Cecily Brown @ Gagosian, September 20 – October 25, 2008, 555 West 24th StreetTags: art, color, online art galleries, el greco, abstract painting, Artist
October 6, 2008 1 Comment
Well, I’m back from vaction and no I was not in Florida…but here are some nice little small format collage pieces to ease back into the swing of things. Fun, airy, playful colors…like lounging on a beach except I am in front of this computer…
Mario Naves / Postcard from Florida #69 / 2007 / acrylic paint and pasted paper / 5 x 6 in / Elizabeth Harris Gallery
Mario Naves, Postcards From Florida @ Elizabeth Harris Gallery, 529 w. 20th St., through 10/4Tags: acrylic, contemporary abstract art, new york art, elizabeth harris gallery, contemporary art, painting (general)
September 2, 2008 1 Comment
Makoto Fujimura / Mountain Memoir – Columbine / 12 x 12 inches / gold and mineral pigments on paper / Dillon Gallery
I’ve been lazy on my posts lately and I’ll blame it on the holiday and the hot summer weather. Before I left town for a couple of days last week, I got down to Dillon Gallery and saw a great show of Makoto Fujimura paintings. The work is a visual feast. Shimmering sparkling pigments, gold, platinum and silver leaf create rich decadent colors and surfaces. Looking at these paintings I could really appreciate fine hand-ground pigments. It adds an energy or visual interest that can’t be obtained with tube paint off the shelf. With tube paint the pigment is mechanically ground to such a fine powder and mulled to such an even consistency that you don’t see individual pieces of pigment. These suspensions, especially in oil, acrylic or latex are great for painting flat even coats of paint that read as fields of color. However, when pigments are hand ground, there is an inconsistency in the sizes of the particles of pigment. There are fine powdery pieces and bigger chunkier flecks. When they are applied to the canvas, they catch and reflect the light differently. It is a subtle difference, but the overall effect on the life of the painting is huge.
In Fujimura’s paintings, the effect is accentuated as the grind of the pigments is very course is some cases and almost has the texture of sand. As you stand in front of a piece and shift your position, the light reflecting off the pigments shimmers and the surface feels alive and moving. Unfortunately, you can’t see this difference in photos on the web
Makoto Fujimura @ Dillon Gallery, 555 West 25th St., through August 2nd.Tags: art gallery, sumi art, oil painting, mixed media art, original art gallery, original art paintings
July 8, 2008 1 Comment
Alastair Michie / Crows Nest / Acrylic on board / Shirley Crowther Contemporary Art
I am not familiar with Alastair Michie’s work, but after reading his obituary in today’s Guardian. I thought I would check it out. This piece has a wonderful palette and sense of rhythm. The composition and division of space is pleasing and draws me into the painting.
Tags: paintings for sale, acrylic painting, twombly paintings, painting flower, definition abstract art, contemporary art
A visit to the Venice Biennale in 1962 dramatically changed Michie’s amb-itions and professional life. It was there he encountered the work of the great American abstract expressionists: the scale and sheer energy of Robert Motherwell, Franz Kline and Mark Rothko were decisive in him becoming a painter. He always maintained that he was never influenced by his mother’s work, though he shared something of her facility and strong feeling for colour and texture. His belief in the power of abstract art to convey strong emotions was confirmed by a meeting with Rothko at an exhibition of paintings by his friend John Plumb at the Axiom gallery in London in the late 1960s.
Michie’s abstract works, whether sculptures or paintings, were always influenced by his own experience. He believed that the two activities complemented and cross-fertilised each other, and much of his work, whether in two or three dimensions, is closely linked to the coastal landscape of his beloved Dorset. His abstract paintings can be read as images of land and sea viewed from the air. A favourite haunt, Studland beach, proved a rich source of found objects, including driftwood and wartime remnants such as shrapnel, which formed the basis of most of Michie’s sculpted pieces from the 1950s onwards. [Read More...]
June 18, 2008 1 Comment
Sheetal Ghattani /Untitled / Watercolour on paper / 36 x 36 inches / Bodhi Art
Tags: new york berlin, Gattani, asian art, acrylic painting, bodhi art mumbai, online art
What sets Gattani’s works apart are her philosophy and attitude towards painting. Her manipulation of the medium, watercolour on paper is to mediate through colours without them suggesting any referential reality. Encountering her abstractions leaves one puzzled since they are large areas of colour, which defy definition in terms of specificity, for instance, red or mauve. In the delicacy of soft textures lie the subtexts in her canvases, which gradually settle upon one’s sensibility and one begins reading into them, forms that bring forth the character of her otherwise placid works. Her abstractions do not beckon but gently whisper, and once that whisper becomes audible it translates into a communion, wherein one is compelled to respond. In evoking these gentle persuasive responses from the viewer lies the success of her abstract compositions. Sheetal’s process of creation largely conditions the nature and character of her works. She predominantly employs black paper on which she brushes layers of paint washes, completely in communion with her materials and tools. With her contemplative wide stroked gestures, Sheetal builds up layers of paint that in the end leave an impression of her self. And this form of abstraction is clarified by Sheetal, who says, “Abstraction is in its deepest sense, based on realism, as in reality — reality of the present moment, free from any thoughts, memory conditioning. Only that pure present moment exists. So painting is a `time-manifested’ process and I become only a means.”
A silent journey through her most recent show titled Silent Soliquyoy, Bodhi Art, Singapore (2007) may freeze the viewer to one description namely ‘similar.’ Yet her similarity is built into the very idea of difference and this difference is the basis of her ‘magical moments’ and ‘inspirational relationships’. This is where Sheetal strikes at the heart of the matter, reconceptualizing her ‘moments’ according to the quality of light and poetic play with materials through an active imagination that enables her to create similarly different works that offers varying significations
The artist lives and works in Mumbai.
June 17, 2008 No Comments
Mary Heilmann / Weave / 1992 / Oil on canvas / 40 1/8 x 30 inches / Spanierman Modern
Don Christensen / Eastbound / 2008 / Oil-based enamel on wood / 31 x 22 inches / Spanierman Modern
Chris Martin / Crystal / 2007 / Oil and spray paint on canvas / 31 x 26 inches / Spanierman Modern
Present Tense: A group exhibition curated by Don Christensen with Mary Heilmann
June 12 – August 2, 2008
The works were selected on the basis of their ability to produce instant and visceral responses in the viewer, without the necessity of contextualization. The artists included share a preoccupation with eccentric structures and tend toward the use of unexpected materials and techniques. Working in the abstract formalist tradition, they seek new vocabulary and materials, redefining their boundaries, even to the degree of leaving the confines of the canvas altogether. Diverse in the methods by which they were created, the works in Present Tense reveal the boundless potential now associated with abstraction and demand our immediate engagement with the objects before us.Tags: affordable art gallery, african american paintings, abstract contemporary art, prints, contemporary artist, pop art gallery
June 17, 2008 No Comments