Eric Dever | Inspired: Curated by Kimberley Goff
October 28, 2019
Exhibition invitation for Inspired, curated by Kimberley Goff of the Elaine Benson Gallery. Exhibition is at Center for Jewish Life in Sag Harbor, NY.Read More >>
October 16, 2019 - NYC GALLERY OPENINGS
New York City Gallery Openings Video. Christine Berry introduced exhibition: Dan Christensen: Early Spray Paintings (1960s)Read More >>
October 11, 2019 - artnet News
The Museum of Modern Art is set to reopen after its big expansive and restoration—and when it does, it’s crown jewels, the permanent collection will be reimagined. Old hits are still there, but new discoveries are also worked in. Film and architecture are integrated into the galleries. And the curation, as the New York Times reported, seeks to make room for “detours, anachronisms and surprise encounters.”
As the public gets ready for the new MoMA, here are photos that give a sense of how its new art history fits together.
Image: Ben DavisRead More >>
October 8, 2019 - Phil Lederer for SRQ Magazine
SYD SOLOMON AT THE RINGLING Camouflage and Calligraphy
For Sarasota’s art aficionados and culture vultures, the works of acclaimed abstract expressionist Syd Solomon are well known. And for locals, his time here remains a source of cultural pride and a milestone in the area’s artistic history. But a new exhibition opening this December at The Ringling Museum—Syd Solomon: Concealed and Revealed—proposes to dive deeper into the artist’s early life and inspiration than ever before, presenting a definitive origin story for a man who became a local legend.
Dominating the Searing Wing, Concealed and Revealed brings not only several of Solomon’s paintings to the museum, but also several artifacts from the artist’s early life, most importantly his service in World War II and professional start as a graphic designer and calligrapher in Sarasota, on loan from the Solomon Archive. His son, the artist Mike Solomon, has been working on the archive for five years now, and even he has been surprised by what they’ve found. “The general knowledge was always there,” he says, “but the surprise was in the details, and how it connected to his painting.” When the elder Solomon served in World War II, his camouflage designs hid men, tanks and supplies from German air raids following the Normandy invasion. Fake trees on wheels disguised Allied planes resting on makeshift airstrips. And when Solomon and his fellow soldiers liberated the French town of Roye, they held a big celebration with a parade and a printed poster. That original poster will be on display. And when Solomon moved to Sarasota in 1946, he turned his talents to signage for local businesses and layout work for local newspapers. “And a lot of the look of Sarasota in the ‘40s, in terms of advertising and signage, he made,” Mike says. But more than that, both of these experiences—Solomon the camouflagist and Solomon the calligrapher—would greatly influence the celebrated abstract expressionist he became. “For the people who think they know Syd Solomon’s work, they’ll realize it’s a lot more complex than they thought,” Mike says. “It wasn’t just about nature. It’s expressionism. It’s a personal, autobiographical thing.” Syd Solomon: Concealed and Revealed opens at The Ringling this December.
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October 3, 2019 - Franklin Hill Oerrell for Hamptons Art Hub
Approaching the Quogue Gallery, I was immediately drawn in by Susan Vecsey’s painting, visible through the side entrance along Jessup Avenue in Quogue, NY. It was awash with warm, radiant color; a vast field of peachy orange. I had seen Vecsey’s work before, in Chelsea at Berry Campbell gallery, and was intrigued with how it would look in this setting in The Hamptons.
I passed through a forecourt with greenery, slate steps and a silvery sculpture by Hans Van De Bovenkamp and stepped into the gallery’s north exhibition space to see Vecsey’s solo show simply titled “Paintings” as it eases into its final week before closing on October 2, 2019. Inside, this impressive painting, Untitled (Orange/Purple/Gold), 2017, greeted me with its vast sky of orange. A circle of the same hue pushed towards the top edge, glowing with a whitish halo. The horizon was marked by a swath of deep purple infused with ultramarine, and a band of ochre yellow suggested sand. I was reminded of our Long Island beaches, in the light of late afternoon on a summer day.
September 26, 2019 - Roberta Smith for The New York Times
In the early 1960s, Yvonne Thomas (1913-2009) was one of many painters seeking a more rational, methodical alternative to the untethered, intuitive and often outsize gestures of Abstract Expressionism. The French-born Ms. Thomas — who came to the United States as a child and was a regular on the New York art scene after 1950 — made a series of modest but radiant proto-Minimalist works that, as seen in this moving show, “Windows and Variations: Paintings From 1963-65,” may be the best of her career.
Until around 1960, Ms. Thomas’s loose patches of color had been relatively generic, a de Kooning-infused form of Abstract Expressionism, albeit sensitive in its paint-handling and palette. But gradually she simplified: reducing the numbers of colors and limiting her shapes to a repeating pattern of lozenges or, often, fat, short brush strokes that suggest a form of counting.
Leaning this way and that, these elements floated in horizontal rows before fields of related hues. In “Transition” (1963), for example, yellow ocher, green and black repeatedly change places, defining shiny strokes and then matte background areas, almost in a kind of dance. In “Variations,” also from 1963, shades of red prevail fore and aft, but additions of white and black create shifting lights, shadows and shimmers. The repetition of identical elements would be foundational to Minimalism, but Ms. Thomas was less strict and more expressive. She kept her hand in, adding a fresh directness of touch, and the results give her a place in the still-emerging saga of postwar American abstraction.
ROBERTA SMITHRead More >>
September 17, 2019
10 x 10
Ten Slides Ten Speakers
Art Ovation, Sarasota, Florida
October 3, 2019
5:30 - 7:00 pm
Frank Alcock, Karen Arango, Bill Buchman, Jetson Grimes, Cooper Levey-Baker, Joan Libby-Hawk, Steve Phelps, Shakira Refos, Mike Solomon, Javier Suarez
September 13, 2019 - Berry Campbell
Juried by Phyllis Tuchman
September 20 - October 19, 2019
September 20, 2019
Founded by the ancient Greek mathematician Euclid, geometry is the area of mathematics concerned with the study of space and the relationships between points, lines, curves, and surfaces. In the arts it has often referred to the form and position of parts and shapes, as well as the relationship between those parts and shapes. The connection between are as deep as they are wide. Employing rulers and compasses, Islamic art utilized geometry to create elaborate tessellated expanses, while painters in the Renaissance used geometry to devise evermore realistic perspectives, finding vanishing points and lines of sight. Geometric forms may also be found among textile and folk art around the world. However, it was in the 20th century when geometry came to occupy such a prominent role in art history. Modern painting, from Piet Mondrian, to Bridget Riley and Charlene von Heyl, to name only a few, brought geometry and art into a world of its own. Contemporary artists, in Site:Brooklyn’s Geometry continue and elaborate in this long tradition, using geometric theory, naturally occurring patterns and forms, and other engagements between math and art to explore new syntheses between realism, figuration, abstraction, and pattern making. These works include painting, sculpture, drawing, multimedia, and video.
September 10, 2019 - ArtFixDaily
The Baltimore Museum of Art (BMA) has announced the first exhibition of its year-long 2020 Vision initiative to celebrate female-identifying artists. By Their Creative Force: American Women Modernists features 20 works by artists such as Elizabeth Catlett, Maria Martinez, and Georgia O’Keeffe to recognize the innovative contributions women artists have made to the development of American modernism. The exhibition is on view October 6, 2019–July 5, 2020.
“This exhibition presents a survey of women artists from a variety of geographic regions and socioeconomic backgrounds to tell a more inclusive story of American modernism,” said Christopher Bedford, BMA Dorothy Wagner Wallis Director. “It also demonstrates the BMA’s long history of acquiring works by women artists and our commitment to showcasing accomplished artists from this community, both efforts the museum is amplifying in 2020 and beyond.”