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| Julie Heffernan, painting detail from "Self Portrait as Emergency Shipwright," 60 x 84 inches, from her recent solo at PPOW, "Sky is Falling." Typical in her work, close views reward surprises. |
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| Heffernan conflates grand visions of nature with pessimistic perspectives on where it is headed, described in a HuffPost interview here: Heffernan HuffPost Interview Link |
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| In this detail, an encapsulated version of the show's dual palettes |
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| Warm, gnarled, fleshy trees ground the eye from cold, turbulent tides |
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| Color temperatures wend through dystopias and utopias |
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| Historical sites groaning under their own weight. A monument to patriarchy, perhaps? We witness the conflagration from shore. |
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| In the side room, new works by Katherine Kuharic |
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| Displaying her penchant for fine detail and logos in several clean, bright, sizzling hued paintings |
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| Heffernan's Self Portrait on the Brink, 2013, 54 x 66 inches, a detail |
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| and the full painting--circles upon circles, advancing, and surrounding the fortress |
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| Collaboration with Brooklyn-based artist Virginia Wagner that contains the small worlds of Heffernan's paintings as dimensional resting points of hope and redemption within the larger cacophany |
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| Glowing crystal tree trunk |
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| Chinese rocks show three faces--side, back and front--here, writ in color, western style |
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| The painting in full |
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| as context for the tree |
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| Charles Burchfield at DC Moore |
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| DETAIL |
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| Landscape made of gestures: an aficionado of Chinese painting. |
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| Simultaneous worlds and mark making systems |
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| continue to amaze |
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| Greg Kwiatek at Lynch Pham on the LES. Gouache, 9 x 12. |
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| The gouaches are all 2013 and 9 x 12, painted in Maine. |
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| July, 2012, 54 x 60 inches. Filled with the suffused heat of summer and the flicker of coolness one finds as a respite. |
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| Sky III, 2013, 20 x 22 inches. So delicate. There were three of these. |
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| August Moon 1, 2013, 20 x 22 inches. One can see the artist reaching for the perceptual truth of it, head craned back, eyes on the alert and hand, painting it down. |
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| Installation views. These and all images were provided by the gallery, good thing as the gouaches were especially hard to capture in their display case on the iPhone. |
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| From the back of the gallery's front room |
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| and front to back, the beautiful Cloud series with July |
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| Julie Evans at Winkleman. Installation views from the gallery website, photos by Etienne Frossard. At the opening, too much going on to photograph. Evans' previous work, which referenced Indian painting techniques studied on a 2003-4 Fulbright Research Grant, has morphed into looser, more organic pours on mylar that are meticulously collaged and mounted on panel or straight to the wall |
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The exhibition runs through Wednesday, November 27 has been extended to December 7th!
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| Julie Evans, Bloodshot, 2011-12 |
As temperatures dip and winds howl, these shows remind us of the delicate transitions in warmer climes.
Love Heffernan's use of color, even though I am not a fan of such bright color. the forms are compelling and the details intriguing. I love it when you have to keep reading a painting to get it all. would love to have seen it in person. the paint itself looks luscious even in the photos. By the way your pix are great, well focused and nicely lit with no glare.
ReplyDeleteI've been thinking more about Julie Heffernan's paintings. I like their dramatic effect. It is like a rethinking and reimagining of historical periods. It has the drama in the Barouche painting's of Caravaggio et al. It also has aspects of Bosch’s paintings in the Northern Renaissance and Fragonard in the Rococo period.
ReplyDeleteWell done.