Friday, January 24, 2020

Intimate Spaces: Marisa Newman, NY. Lulu, CdMX.

Cry of the Dinosaur's Sister at Marisa Newman Projects, New York. Gallery Link
Here, Elizabeth Terhune. A lovely flower painting.
Beth Edwards, long known for a contemporary figuration now working from plants.

Margo Margolis, collage and painting, the surface clean and elegant.
Judith Linhares: rough, distilled, eloquent.
At lulu, Mexico City: Paul P's Arriere-Pensee, small watercolor portraits on the most beautifully woven paper
Gallery Link

They are erotically painted and presented, creating moments of quiet longing that vacillate between memory and material.

Wednesday, January 15, 2020

Quien es Maxwell Gordon?

Meet what I think is early Maxwell Gordon, found on Artnet: Lower New York, 18.25 x 24 inches--undated.

Born 1910, d. 1982, Gordon lived in  Chicago and New York before moving to Mexico, where the culture clearly transformed his work. 
Six works from Mexico reside in the home of American artist and expat Annette Nancarrow, now the Tlacopac residency in Colonia Los Alpes, south side of Mexico City.

The only information on Gordon aside from listings on Artnet and Mutual Art concerns a monograph produced by Karlsson Wilker.
Gordon, dining Room, Nancarrow residence/Tlacopac. 
"The house was built by renowned architect Manuel Parra for American born painter and jeweler Annette Nancarrow, who lived here for some years with her second husband, Arkansas-born Mexican citizen Conlon Nancarrow (who invented the avant garde compositional technique of music for prepared piano.). Annette, a painter, was the only assistant to the great Mexican muralist José Clemente Orozco actually permitted to work on his murals. She also designed jewelry for Friday Kahlo and Peggy Guggenheim, among the innumerable great US, Mexican, and world artists who visited and worked in Mexico roughly between the two world wars." (From residency text).
Perhaps a transitional painting when Gordon first arrived in Mexico? Quien es Maxwell Gordon?

Friday, January 10, 2020

La Ciudad de Mexico: COBRA at the Modern Art Museum

Where do I begin: it's free. It's gorgeous. We do not see enough of this work in the US: the Cobra Group. Here Egil Jacobsen, 1946. A combination of surrealism, expressionism, and pure, sumptuous materiality.  Museum Link 


Asger Jorn, 1961
Asger Jorn, 1962
Uh oh
Constant, 1949, free and blissful
Alechinsky: the compositional bifurcations begin
So interesting to see Alechinsky working with rice paper and ink; its overlays and differences with Asian ink painters.
Pierre Alechinsky: paint tossed, flung, marked, loose
Piere Alechinsky's framing devices--such fecund and glossy paintings
Corneille, 1962-the palette!
Karl Appel birds, 1958
Karl Appel
Karl Henning-Pedersen, 1948. What a find! I love the touch, the texture, the mid-tone values of these works.
A gorgeous painting by Jacques Doucet, 1964
Zoltan Kemeny, 1949 - such rich texture, layers, much like the landscape in Mexico City.
Where the work went a decade later: 1959
Karel Appel, 1951. The images are so beautiful in real life, how I wish I could convey the glossy, thick paint, the color, the balance.
Late Constant

Tuesday, December 31, 2019

Materiality and Craft, LES and Whitney Museum

Holly Coulis at Klaus von Nichtssagend on the LES. The images are way more vibrant in life, and you can see them here: Gallery Link

The table top sculptures as a direct translation of the painting feel absolutely right.
The sculptures visualize space as the glimpses of objects when suddenly seen strange.

Hollly Coulis
At Derek Eller, Nicole Cherubini in Full Moon, her debut there.  Gallery Link.
Making is exposed: medallions clamped on vases, stacked pedestals, and 
Chairs, reconfigured as objects of contemplations that leave one inexplicably staring into their inviting recesses, inverting the process of sitting down with looking in at breathtaking glazes.

Like canvas, chairs provide a predictable and familiar format Cherubini upends with her material decisions.  
Diane Simpson, whose solo room on the Whitney's first floor at the Biennial dazzled with its theatrical, yet domestic displays, shows the collograph apron Armour, 1976, in the superb Making Knowing: 1950-1919 on view there now. Museum Link 
Alan Shields
Eva Hesse
Robert Morris 
A femmage by Miriam Schapiro! The Beauty of Summer, 1973-4.
In 1972 she began to embrace the flowers, patterns, and feminine influences in her work. 
Betty Woodman's Hydrangeas, from 1987
Mike Kelly's More Love Hours Than Can Ever Be Repaid

Thomas Lannigan Schmidt.
Thomas Lannigan Schmidt
Rosie Lee Tompkins, Three Sixes, 1986, quilted polyester double-knit,  wool jersey, and cotton
Jordan Nassar, A Lost Key, 2019, hand embroidery on cotton and wood frame
Kahill Robert Irving, 100s, 2018 - the firing of money
Liza Lou's epic Kitchen - such a simple idea and a transformative process
All beadwork
Through kitchen window
Then a mirrored piece by Nick Mauss, Images in Mind, 2018
But the real surprise in a different conflation of flat and real space  at the start of Rachel Harrison's survey.