Diane Carr, Thicket, 2009, 30" x 48"
Diane Carr – a painter I particularly admire – is back with another gallery show. December 9 – 11, 2009 at Gallery SATORI, 164 Stanton St, New York, NY.
I thought she had a website but since I can’t find it you can see more of her work at the White Column’s Artist Registry.
Clyfford Still. (American, 1904-1980). 1944-N No. 2. 1944. Oil on unprimed canvas, 8' 8 1/4" x 7' 3 1/4" (264.5 x 221.4 cm). The Sidney and Harriet Janis Collection
Four thoughts I had on Clyfford Still’s painting 1944-N No.2 at MoMA (not me in the picture to the right):
- The painting as a detail view of a diseased animal’s skin – its black hide tearing open from a swelling infection beneath.
- A painting that masks its medium. Scraped-down impasto technique gives the painting’s surface a distinctively un-painted look. Graphite paste or oil paint? This ambiguity compounded by the velvety, rough tactility of the picture in opposition to paint’s slick liquidity.
- The painting as a birds-eye-view of fires skirmishing on blackened ground, a bleak expanse of a traumatic horrorscape. Lava clawing at charred terrain.
- The painting as a window onto some great chaotic undoing behind a veneer of order. That tear stretching from the upper left corner to the bottom right is interrupted by the white gallery wall. The rip seems safely contained by the organizing space around the picture. But the brutality of the tear seems irrepressible so one must imagine that the gash continues behind the wall, wrapping around the edge of the painting and extending into the dark unknown of the museum architecture, and out and down into the earth, and through into space, this schism reaching out into infinity pulling our seemingly unified world apart into two. And behind it? That reddish glow. Of something better? Or something worse.
Adam Hayes, an artist from Newark, NJ (remember when it was the new Brooklyn?) is having a show at the gallery Number 35 in Manhattan.
Sadly I can’t dig up much information (make a website for yourself, sir) but the press release suggests his drawings “feature a moment: hair blowing, the space between drapery, a shadow of a neck. They turn in images of incomplete sashes and quick snapshots of fur collars.” Could be. I like their spareness and the way they appear to be in formation. Proto pictures, maybe. More on Adam via his gallery’s badly designed site.
Francesco Longenecker, Bed, 2008, oil on canvas, 60" x 80"
Francesco Longenecker, Landing, 2008, oil on canvas, 60" x 96"
Francesco Longenecker, Pond, 2008, oil on canvas, 48” x 58”
Francesco Longenecker is a young painter (b. 1981) in New York with a promising show of new paintings at Rare Gallery. Here are some selections. More here.
John Milton Ensor Parker is a painter working out of Brooklyn. After investigating his very thorough (and well designed) website, I was only really taken with these pictures (above).
Regular readers will know I’m simply mad about painter Kristine Moran. Here’s a painting she made on view at a group show she is in at Anna Kustera Gallery. Terrific, terrific.
Richard Diebenkorn, Ocean Park No. 67, 1973, Oil on canvas, 100 x 81 in.
Terrific news for those Diebenkorn fans out there: a retrospective of the Ocean Park series will be debuting at the Orange County Museum of Art in 2009.
“Richard Diebenkorn: The Ocean Park Series, 1967 to 1985
Newport Beach
Oct 11, 2009 – Mar 14, 2010
Richard Diebenkorn: The Ocean Park Series, 1967 to 1985 is the first major museum exhibition of the artist’s most celebrated series. Recognized as a leading West Coast Abstract Expressionist in the 1950s, Diebenkorn turned his attention to figurative painting in 1955 and achieved equal success in this alternate style. In 1968 he returned to abstraction, and during the next twenty years would forge one of the most compelling and masterful bodies of work of the 20th century: the Ocean Park series. Featuring nearly 75 works—including paintings, prints, drawings, and collages—this exhibition captures Diebenkorn’s practice of working simultaneously in diverse media and provides audiences with the first opportunity to explore the complexity of Diebenkorn’s artistic and aesthetic concerns in this seminal body of work. The exhibition will be accompanied by a 250-page fully illustrated exhibition catalogue, and will tour in 2010.
This exhibition is organized by Sarah Bancroft, curator at OCMA.”
Rumors have it that the show will travel to Washington DC so East Coasters like myself won’t have to make a trip to see it (although it will definitely be worth the trip).
More Diebenkorn posts coming soon… What a guy – what a San Franciscan!
Richard Diebenkorn, "Ocean Park No. 129", 1984
And while we’re on Diebenkorn, for those living in Northern California, be sure to check out a little show of his work at Stanford.
Some fine landscapes by Peter Allen Hoffmann over at Freight and Volume. Lots more pictures here. Press release here.
