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Saturday, December 24, 2016
Sunday, December 18, 2016
Max Ruf at Múrias Centeno
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Untitled (prussian Blue lines, transparent green), 2016, oil on canvas, diptych, 47.25 x 63 inches
Max Ruf: Stadt
November 16 - January 14 muriascenteno.com
Múrias Centeno
Rua Capitão Leitão 10/16
1950-051 Lisboa - Portugal
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Sunday, December 4, 2016
Julia Rommel at Bureau
Julia Rommel: Man Alive
November 6 - December 18, 2016 bureau-inc.com
Bureau
178 Norfolk Street
New York, NY 10002
Saturday, November 26, 2016
Ulrike Müller
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| Others, 2015, vitreous enamel on steel, 15.5 x 12 inches |
Saturday, November 19, 2016
Ron Gorchov at Vito Schnabel
Spice of Life, 1976, oil on linen, 49 x 75 x 15 inches (124.46 x 190.5 x 38.1 cm)
Ron Gorchov: Works From the 1970s
November 10 - December 17, 2016
Vito Schnabel Projects
360 West 11th Street
New York, NY 10014 vitoschnabel.com
Saturday, November 5, 2016
Merlin James at Sikkema Jenkins & Co
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| C.2016, 2016, acrylic on canvas, 16.5 x 19.25 inches |
Merlin James: Paintings for Persons
Sikkema Jenkins &
Co
530 WEST 22ND STREETNEW YORK NY 10011
Sunday, October 30, 2016
Anke Weyer at Canada
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| Installation View, Frightful Falls, 2016
Anke Weyer: Frightful Falls
October 27 - December 4, 2016 canadanewyork.com
Canada 333 Broome St New York, NY 10002 |
Saturday, October 22, 2016
Torey Thornton at Shane Campbell Gallery
September 23 - November 4, 2016
* At Lincoln Park location shanecampbellgallery.com
2021 S WABASH AVE
CHICAGO IL 60616
Sunday, October 16, 2016
Monday, October 10, 2016
Sunday, September 25, 2016
Charlotte Cain Memorial Retrospective at ICON
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| I Am That I Am #6, 2005, Dorlan's wax and gouache on antique Indian paper on Baltic Birch, 8 x 8 inches |
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| detail |
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| Recurring Small Forms #26, 1982, acrylic on fabric laminated to canvas, 60.5 x 60.5 inches |
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| detail |
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| Navel of the Sky, 1979, machine knitted wool laminated to canvas, 70 x 51.25 inches |
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| Infinite Stars, Infinite Stripes, Triptych (Unity of America), 1980, machine knitted wool laminated to canvas, 103 x 134 inches |
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| 16 Kolams 2A, 2003, Dorlan's wax and gouache on antique Indian paper on Baltic Birch plywood, 8 x 8 inches |
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| Yellow Bindu, 2006, gouache on antique Indian paper, 8 x 8 inches |
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| detail |
Charlotte Cain: Memorial Retrospective
Through October 22, 2016
Gallery Hours: Tues–Fri, 12:00–4:00 PM, Sat, 1–4 PM icon-art.org
ICON Iowa Contemporary Art
58 North Main Street ("On the Square")
Fairfield, Iowa 52556
Sunday, September 11, 2016
Guy C. Corriero at Junior Projects
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| photo courtesy John Zinsser |
Guy C. Corriero: Make Me
September 15 - October 29, 2016
Reception: Thursday, September 15, 6-8 pm juniorprojects.com
junior projects
139 norfolk st
nyc 10002
Sunday, September 4, 2016
Paul Monteiro at Office Baroque
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| Distancia / Untitled, 2016 oil on wood and oil on canvas 2,5 × 5 × 2 cm and 15 × 11 cm (1 × 2 × 7/8 inches and 5 15/16 × 4 5/16 inches) |
September 8 - October 22, 2016
Opening: Thursday, September 8th, 5-9pm officebaroque.com
Bloemenhofplein 5
Place du Jardin aux Fleurs
1000 Brussels, Belgium
Sunday, August 28, 2016
Yevgeniya Baras at Nicelle Beauchene
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| Untitled, 2016, oil and mixed media on canvas, 24 x 18 inches |
September 10, 2016 - October 9, 2016
Opening reception Saturday, September 10 6-8pm nicellebeauchene.com
For All Inside of Itself, Close, Baras continues to work intuitively in her medium while taking an expansive step forward in both the scale and structure of her paintings. Remaining faithful to the materiality and autobiographical nature of her more intimately sized works, here the artist pushes into larger canvases, incorporating found materials into allegorical, albeit elusive constructions. Embedded with found and collected objects, including wood, tire rubber, human hair, stones, and family bedsheets, Baras’ heavily worked canvases evolve almost archeologically, with an equal consideration for the painted surface and the architecture of materials beneath.
Throughout these poetic abstractions, Baras traces a wide-ranging continuum of experiences, from that of the body, to language, to landscape, and anthropology -- and their attendant symbology. Through the canvases’ rich surfaces, allusions emerge slowly, the many modes of application (embroidery, collage, quilting, wood working) lending a depth to both the physical and semiotic structure of the painting. Only at this point does the imagery arise, pivoting upon each authentic translation and interpretation of the work. Despite the specificity of her personal, pictorial vocabulary, the work’s impact is direct in any context, and rewards a multiplicity of readings.
Yevgeniya Baras received an MFA in Painting and Drawing from the School of the Art Institute of Chicago, and a BA in Fine Arts and Psychology as well as an MS in Education from the University of Pennsylvania. Her work has been included in numerous exhibitions, including recent group exhibitions at Gavin Brown Enterprise; Murray Guy; White Columns; and KANSAS, NY, as well as a solo exhibition at Steven Harvey Fine Art Projects, NY in 2015. In 2014, Baras was awarded a Rema Hort Mann Foundation Emerging Artist Grant. The artist recently completed residencies at the Sharpe-Walentas Studio Program, in New York, NY, and the MacDowell Colony Residency in Peterborough, NH. Baras is a cofounder of the artist-run gallery Regina Rex, and lives and works in New York City.
Nicelle Beauchene Gallery
327 Broome Street (between Bowery & Chrystie)New York, NY 10002
Sunday, August 7, 2016
John Schlue
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John Schlue: EatChewAlive
July 2 - August 30, 2016
Belle Plaine Area Museum
901 Main St
Belle Plaine, IA 52208 bpiowahistory.com
Saturday, July 16, 2016
Zachary Armstong at Feuer/Mesler
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| Lee boy, 2016, oil and encaustic on canvas in artist's frame 84 x 60 inches |
Zachary Armstrong: Hills & Dales
June 23 - July 29, 2016Feuer/Mesler feuermesler.com
319 Grand Street
Second Floor
New York, NY 10002
Sunday, July 10, 2016
Group Show at Marianne Boesky
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| Thornton Dial, Slavery to Freedom (triptych), 1989-90 oil, wood, canvas, industrial sealing compound on canvas mounted on wood variable dimensions |
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| Thornton Dial, Slavery to Freedom: People Coming Out, 1989-90 oil, spray paint, wood, canvas, industrial sealing compound on wood, 72 x 75 1/2 inches 182.9 x 191.8 cm |
I Talk with the Spirits
Curated by Chris Wiley marianneboeskygallery.com
June 23 – August 12, 2016
Marianne Boesky Gallery
509 West 24th Street
New York, NY 10011
Stephanie McMahon at T + H Gallery
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| Doppio, 2015, oil on panel, 20 x 16 inches |
Stephanie McMahon: Close to Me
June 3 - July 31, 2016
460 Harrison Ave C19 & C20
Boston, MA 02118 tandhgallery.com stephmcmahon.com
Saturday, July 2, 2016
Bill Adams at Jeff Bailey Gallery
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| Sunup #2, 2016, ballpoint pen and watercolor on paper, 20 x 16 inches |
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| Bird, 2012, oil on canvas, 18 x 13 inches |
BILL ADAMS: Sunup
June 4 - July 3, 2016 baileygallery.com
JEFF BAILEY GALLERY
127 Warren Street
Hudson, NY 12534
Saturday, June 25, 2016
Margot Bergman & Brian Calvin at Anton Kern
Left: Margot Bergman, Doris, 2015, acrylic on canvas, 48 x 36 inches.
Right: Brian Calvin, Shore Leave, 1992, oil on canvas, 38 1/4 x 26 1/2 inches.
MARGOT BERGMAN
JUNE 30 - AUGUST 19, 2016BACK GALLERY
JUNE 30 - AUGUST 19, 2016
For her debut solo exhibition in New York, Anton Kern Gallery has invited Chicago-based painter Margot Bergman (b.1934) to present a body of recent portraits. Paired with Bergman’s work is a selection of early drawings and paintings by Brian Calvin (b.1969), from the Popeye series created during his time in Chicago in the early 1990s. These side by side exhibitions depict the human figure and all its grotesque facets, and reflect the painterly Neo-Expressionist sensibilities of the Chicago art scene. With an emphasis on building up paint, working and reworking their materials, both artists create layers; Bergman in a physical sense and Calvin in a more figurative sense.
Margot Bergman builds layers of paint atop found artworks. The interplay between elements of the found works she exposes and her own additions creates distorted and uncanny forms, reminiscent of Modernist collage. Her constructed ‘double-portraits’ converge into a single subject. With titles like Auntie Gladyce,Gloria Jean, and Patty, each painting possesses a unique personality, a soul. This process of prosopopoeia stems from the artist’s relationship with the found paintings, who she has “rescued” from flea markets and kept in her home. As Bergman explains, “It was a process - living with them, understanding what I was looking for, beginning to draw it out, slowly and without a plan, responding to the original paintings. I didn’t know what the next step would be. Once I found my way to the portraits, it was magical for me.”
When Brian Calvin moved from Berkeley to Chicago in the early 1990s, his predisposition toward painterly figuration was broadened through local influences such as the Imagists and the Hairy Who, resulting in a tonal shift in his painting. In his ‘Popeye’ works, Calvin renders the stark cartoon figure in thickly applied paint against a dark brooding background, paused amid mundane activities such as smoking a cigarette, standing in the rain, lying awake in bed. The contrast and stillness creates a sense of unease and focuses the viewer’s attention on the subject’s gestures. Calvin subverts Popeye’s inherent cartoon lightness by reimagining himself in an alternate reality, restaging him in a bleak psychological landscape. With the memory accumulated from drawing this iconic character repeatedly in his youth, Calvin uses the figure’s instantly recognizable shape, and it’s associations, as a vessel for ruminations on pathos.
Sunday, June 19, 2016
Joe Bradley at Eva Presenhuber
Installation view
Joe Bradley: Canton Rose
JUN 12, 2016 - JUL 23, 2016
Galerie Eva Presenhuber
Maag ArealZahnradstrasse 21, CH-8005 Zurich presenhuber.com
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