Thursday, May 16, 2019

Beautiful Joan

Joan Mitchell's I Carry My Landscapes With Me at Zwirner, 525 W 19th St., through June 22nd. Gallery Link
Minnesota, 1980, 102 x 244 inches (give or take--lopped off small percentages on all sizes herein)

La Seine, 1967 (Collection Empire State Plaza Collection, New York, State, Office of General Services)

Sunflowers, 1990-1991, 110 x 157 inches

Edrita Fried, 1981, 116 x 299 inches
Untitled, 1992, 102 x 157 inches 

Row Row, 1982, 110 x 157 inches


In the back room, some beautiful ink drawings

And beyond the gallery walls, the surreality of a changing landscape before one's eyes. Would Joan have lived in Chelsea, on the water, as she did growing up in Chicago?

Wednesday, May 08, 2019

Walls and Windows

Wenzhi Zhang Artist Website from Pure Mountains, Beautiful Waters series,  approximately 70 inches high in Cross Cultural: Chinese Artists Working in New York, curated by Zhijian Quian assisted by Xiaohua Pan at the New York City College of Technology. 
Weixian Jiang, Gallery Link, Growing 1-3, brass, around 70 inches high the tallest.
Yan Lin, Between Day and Night, xuan paper, mirror and plexi, 34 x 34 x 8 inches from 2014. This artist works solely with Xuan paper and her website is here: Artist Site.
Song Xin's 2019 cut paper Extensions, purchased for permanent installation in the front windows at NYCCT. Artist Site
Cut paper is so simple, but changes everything.

Looking in. (Did not view full exhibition due to a temporary installation in the lobby. 

Patterned ceramic crowns by Margaret Lanzetta Artist Website in her Queens studio.


Dimensional drawing at speed refashions history.

For some years Lanzetta has been working with fabric, transposing indigenous patterns from Karachi, or Kochi, with her own custom-designed blockprints.
A textural jam emerges, conflating handmade and manufactured surfaces.









Juxtaposed with Vivian Suter at Gladstone, Gallery Link, a show that appeared literally from points unknown, as Suter lives and works in Panajachel, Guatemala.

Something liberating about a spatial reconfiguration and scramble of hierarchies.

There's a sense of the marketplace in a local sense, an agora, people moving through, transferring objects and ideas.


It's not about preservation, but making, with abandon, no judgments for good or  for ill.

Tuesday, April 30, 2019

I Feel the Earth Move Under My Feet

Just go. I can't even talk. It's great, as was the last show, and I'm sure every show before that: Tom Uttech at Alexandre Gallery. Gallery Link







These drawings!













Blown out detail - Uttech
At Yares, a museum-level Frankenthaler survey not yet posted on their website. Don't let that stop you: just get there. Uttech's painted world is mysterious in a different way than Frankenthaler's; he bores in; she retreats. How she structures a painting remains both enigmatic and rigorous. Gallery Link


1980s

1980s

1960s
1950s - oil









Continuing the theme of great painting: Lucien Freud's appropriately titled Monumental at Acquavella.  Gallery Link






Weird late one--@ 2006







Also in the aughts--a shift in the paint handling around 2000.

1990s etching

aughts
Details - circling back to the 1996 masterpiece...




After seeing the above exhibitions, Daniel Heidkamp's Elevated States at Half Gallery came as a bit of a shock: the stylized shapes, the saturate color.
Gallery Link
After the scraped, pulled surfaces of Freud, these brushy paintings at first 'read' quick. 
But there's an insistent vision, involving finger forms.
They're good.
The stars compelling in this night landscape.
Full-dress deKooning survey at Mnuchin. Gallery Link





Truly brilliant, bravura landscape painting




Over and under, push and scrape!
Jointed forms, record-keeping.

Moving into the 80s work.


And back in time, too, to the Women.