DAVID RHODES is a contributor to the Brooklyn Rail.
FEB 2017 | ArtSeen
This exhibition brings together fourteen oil paintings by David Reed first collectively shown in 1975 in a solo exhibition at Susan Caldwell Gallery.
JUNE 2017 | ArtSeen
The National Exemplar has a distinct program that focuses on artists of different generations, as well as on bodies of work that may have been overlooked relative to an artists’ better-known works.
JUL-AUG 2017 | ArtSeen
Since the mid 1960s, Robert Mangold has consistently examined the possibilities of support shape, surface, color, and drawing, in dynamic and equal relation. This exhibition of recent work is no exception.
SEPT 2017 | ArtSeen
This sparingly hung exhibition, including over seventy works, is the largest gathering to-date of Connecticut born artist Maureen Gallace’s (b. 1960) small-scale paintings. While it is easy to see precedents for these paintings—Fairfield Porter, Jane Freilicher, Lois Dodd, and Alex Katz—the paintings are distinctly singular; in a genre tradition, but certainly not generic.
OCT 2017 | Art
In the lead-up to Larry Poons’s exhibition Momentum at Yares Gallery, David Rhodes paid a visit to the painter at the studio he has occupied on Broadway, just south of Union Square, since 1975.
NOV 2017 | ArtSeen
Two concurrent exhibitions in New York this fall refer to natural and cultural forms in poetic installations with entirely different, conceptually framed takes. Both use painting as intellectual and physical currency, and both excerpt works of literature in their press releases. Chris Ofili cites John Milton’s epic poem Paradise Lost. For Sam Falls, the relevant citation comes from Vladimir Nabokov’s novel The Gift: “A jail with no jailer and a garden with no gardener—that is I think the ideal arrangement.”
FEB 2016 | ArtSeen
Comprising a survey of twelve paintings, this exhibition presents a thoughtful overview of Yun Hyong-keuns (1928 2007) quietly compelling work.
JUNE 2016 | ArtSeen
To inaugurate its new Chelsea space, Lisson, one of London’s most significant and established galleries, presents works created over the past two years by the painter Carmen Herrera.
JUL-AUG 2016 | ArtSeen
After presentations in Europe (at the Ecole Supérieure des Beaux Arts du Mans (1999) in Locarno, and at the Villa Arson de Nice (2004)), the present iteration of this exhibition, organized by Jean Louis-Raymond, coincides with the first U.S. complete retrospective of Straub and Huillet’s filmmaking, at MoMA. Comprising an original film poster, mounted photographs, writings, and video, the exhibition raises an interesting question: Does this amount to documentation?
NOV 2016 | ArtSeen
For this exhibition Parc Natural at Galeria Trama, curator Frederic Montornés returns to the writer Georges Perec’s book Espèces d’espaces (Species of Spaces) (1974) that he freely interpreted for his 2015 MACBA (Museu d’Art Contemporani de Barcelona) exhibition in 2015.
MAR 2015 | ArtSeen
Dan Walshs exhibition at Paula Coopers 21st Street gallery presents a two-decade overview (1994 2014) that includes paintings, works on paper, mixed media pieces, and artist books.
MAY 2015 | ArtSeen
As the poet John Ashbery once said: “Most reckless things are beautiful in some way, and recklessness is what makes experimental art beautiful, just as religions are beautiful because of the strong possibilities that they are founded on nothing.”
JUL-AUG 2015 | ArtSeen
One enters Tamara Zahaykevichs exhibition on a small ramp that leads down to a set of differently sized rooms. It is a dynamic space and requires a thoughtfulness that is repaid: encountering these interconnected rooms, one is encouraged to take stock of their relational qualities and the particular proportion of each room to its neighbor.
OCT 2015 | ArtSeen
For Graham Collins’s second solo exhibition at the Journal Gallery, several different series of works are combined, including large-scale painted objects that effectively reconfigure the gallery’s main space.
DEC 15-JAN 16 | ArtSeen
The fourteen works present heremostly on panel, but also including five detached frescoesare brought together for the first time, at the Palazzo Real. They provide a partial, but representative, record of Giotto Di Bondone’s (1267 1337) production over a more than forty-year periodfrom early to late in his hugely influential career.
MAY 2014 | ArtSeen
During the months of March and April in both Barcelona and Madrid, the curatorial project Jugada a Tres Bandas proposes to galleries that they interrupt their usual schedule and invite independent curators to organize exhibitions that include non-gallery artists.
OCT 2014 | ArtSeen
For this artists second solo exhibition at Blackston, the walls and ceiling of the front gallery have been painted gray, and the difference this makes in how one experiences the five large-scale paintings that explore the tonal shifts of the complex hue is significant.
DEC 14-JAN 15 | ArtSeen
In using her body as both the image and site of her work, Aneta Grzeszykowska continues the dialogue and tradition of such artists as Cindy Sherman, Hannah Wilke, Ana Mendieta, and, most obviously in this exhibition, Alina Szapocznikowanother Polish sculptor whose work traffics in bodily fragmentation.
MAY 2013 | ArtSeen
Among the films, photo-collages, and drawings in Gordon Matta-Clarks exhibition is a sculptural stone fragment of praying hands.
JUL-AUG 2013 | ArtSeen
Jane Freilicher remains an important figure when considering the New York poets that emerged in the mid 20th century.
DEC 13-JAN 14 | ArtSeen
Facing the large gallery windows that open onto Grand Street, four white organic pillow-like shapes hang on a free-standing floor to ceiling wall; one in each corner. The title of this piece is Vier Körperformen (1963). A small, framed drawing to the right of this wall, Körperformen (1963), shows the outline of five similar shapes.
FEB 2012 | ArtSeen
An exhibition of work by Matti Braun, the Berlin-born, Cologne-based artist, is always something to which one looks forward. At BQ, Braun has made a show that speaks for itself more than just visually, extending any singular interpretation of the works with the simple device of an exhibition title.
APR 2012 | ArtSeen
So many years have passed since your new paintings at the Marlborough Gallery caught your friends and supporters off-guard. Among your embattled partisan crowd, Bill de Kooning was almost alone in supporting your change of direction; after all, like you, he did what he wanted to do, when he needed to do it.
MAY 2012 | ArtSeen
In an excellent 2008 review in Gay City News, the late painter Stephen Mueller described Jackie Saccoccio as proceeding to disrupt the picture plane either by continually contradicting space or by defining it. In her current work, Saccoccio continues to punch holes in the picture plane, with pleasure.
JUNE 2012 | ArtSeen
Varda Caivano and Yael Davidss two-person exhibition opened during Berlins hectic Gallery Weekend, and despite the profusion of new shows in the city, this proved to be the one not to miss.
SEPT 2012 | ArtSeen
The tranquil ambiguity of an intriguing line appears punctuated by speculative moments. At least, that is what I hope to encounter. Concise yet inconclusive, these moments do in fact occur, again and again.
NOV 2012 | ArtSeen
Over the decades of his career, Frank Stella has embraced an ever more expansive and inclusive exploration of painting as a spatial entity. Inasmuch as actual physical parts form shapes and surfaces to be painted, Stellas rich illusionistic mix has pushed composition outward from the wall, while retaining the idea of pictorialism in the use of pattern and gesture to create an anomalous fictive space on any given surface.
MAR 2011 | ArtSeen
Alois Riegl (1858 1905), an Austrian art historian, was a major figure in establishing the study of art history as an independent discipline. He was also highly influential in the development of late 19th century formalism. It is well documented that Greenbergian formalism, with its blinkered appreciation of mid-20th century painting and sculpture, has brought this way of looking into serious disrepute.
JUNE 2011 | ArtSeen
As the source of the Berlin-based Norwegian artist Øystein Aassans second solo exhibition at PSM Gallery, a quote from Barnett Newman is cited: The painting should give man a sense of place: that he knows hes there, because in that sense I was there. Aasan achieves this sense of place through a very literal emphasis on making and context.
SEPT 2011 | ArtSeen
This is the Pakistani-born, London-raised, and Berlin-based artists third solo exhibition with Esther Schipper, and the first at the gallerys new location on Schöneberger Ufer. Again, Ceal Floyers simple and direct strategy of inversion and displacement make for a subtle encounter of surprise, absurdity, and wit.
NOV 2011 | ArtSeen
Hokusai Katsushika (1760 1849) said that all he had done before the age of 70 was not worth bothering with. He hoped for longevity in life in order to achieve something in his paintings; evidently he believed in the long haul.
OCT 2010 | ArtSeen
Gesture has had a changing reception since Art Informel and Abstract Expressionism positioned it as a carrier of unmediated meaning at the middle of the 20th century. Once perceived as spontaneous, open and direct, gesture later became a sign of empty rhetoric: redundant, obsolete, and naïve.
DEC 10-JAN 11 | ArtSeen
Exhibitions dealing, in their very different ways, with 21st century abstraction opened in the first half of September here in Berlin. Nymphius Projektee presents a small survey of painting, hung salon-style, which looks at some conceptual and geometric tendencies in 1980s abstraction that still underpin much abstract painting today.
SEPT 2009 | ArtSeen
Two Berlin-oriented exhibitions at the Martin-Gropius-Bau seek to reevaluate the influence of Charles-Édouard Jeanneret, known as Le Corbusier (1887-1965), on the contemporary built environment and its social consequences. This is the most extensive presentation of the Swiss architects wide-ranging work in over twenty years.
NOV 2009 | ArtSeen
Adrian Schiess and Helmut Dorner have a shared perspective on painting, occupying an extreme position on the medium. They are emphatically painters: their concerns are not descriptive or iconographic.
MAR 2017 | ArtSeen
Jack Whitten’s first exhibition with Hauser & Wirth presents works from several series—“Quantum Walls”, “Portals”, lenticular works from the “Third Entity”, one piece from the continuing Black Monolith Project, and a sculpture (all dated 2015 – 17)—continuing a five-decade-long investigation of passions vis-à-vis a testing exploration of painting itself.
JUL-AUG 2017 | ArtSeen
In the first room of Sylvia Plimack Mangold’s exhibition, the visitor encounters the summer section of the exhibition’s title. Later, on moving through to the second room, the winter section. The cyclical progression of the seasons defines the rhythm of life in a climate that sees weather changing through the months, as well as vegetal and animal response. It’s impossible not to think concurrently of mortality and a celebration or acknowledgement of transformation.
SEPT 2017 | ArtSeen
Before becoming one of the most eminent abstract painters of her generation, Mary Heilmann arrived in New York as a sculptor in 1968. Exploring Pearl Paints, a short distance from her Chinatown loft, (Barnett Newman among many others had bought supplies at the famed, now-shuttered retailer), Heilmann initially decided against using the wide range of pigments on offer, avoiding what she referred to as “pretty” color and working in a restricted palette of earth tones and white. In 1974, however, her art underwent a substantial shift.
OCT 2017 | ArtSeen
Mira Schendel was born Myra Dagma Dub in 1919. A Jew by birth, Schendel’s mother had her daughter baptized at the Church of St Peter and Paul, raising her in Milan as a Roman Catholic where she studied art and philosophy.
NOV 2017 | ArtSeen
In a 2002 interview with Judith Stein, the curator of Deadeye Dick: Richard Bellamy and His Circle and author of the recent, definitive Richard Bellamy biography, Eye of the Sixties: Richard Bellamy and the Transformation of Modern Art, Richard Tuttle said, “Dick was unbelievably sensitive, delicate and extremely refined. But he was strong—the strongest part of him was his belief in following his own way with art.”
FEB 2016 | ArtSeen
The subject of Robert Ryman’s work is the relationship between light and matter; in particular, the relationship between a changing light and a specific surface.
MAY 2016 | ArtSeen
As well as printmaking, Danish artist Per Kirkeby’s (b. 1938) oeuvre includes painting, sculpture, architecture, writing (poetry, essays, and travel books), and performance.
JUL-AUG 2016 | ArtSeen
Two walls, both hung with drawings, face each other. One, shorter in length, was custom-built for this exhibition. They are painted a pale green, not a found green but one mixed by the artist and then matched to a Pantone color in the paint store and applied to the walls by gallery assistants. At the far end of the gallery, a row of windows open onto buildings across the street and a tree in the full green leaf of early summer.
OCT 2016 | ArtSeen
Three contrasting types of work comprise Lynda Benglis’ current exhibition at Cheim & Read. Standing alone in the gallery’s first room is a towering cast aluminum piece: The Fall Caught (2016), a vaguely anthropomorphic form leaning against a wall, large enough to stand beneath.
FEB 2015 | ArtSeen
In Joe Fyfes work, the inherent characteristics of any given material are presented foremost and combined with a sense of highly nuanced formal invention. Materials and objects are sewn, glued, tied, or left leaning together; there is no idealization or neutral ground sought for paintingand painting and its possibilities is the subject of this exhibitionas medium specific.
APR 2015 | ArtSeen
When Günther Förgs monochrome paintings first appeared during the mid-1970s, they seemed to be, at least in part, a rejection of the expressionist and figurative tendencies of Das Neue Wilden (The New Wild) German painting emerging during those years.
JUNE 2015 | ArtSeen
This is Pierre Obandos first solo exhibition with the gallery. The title of his exhibition is taken from Roy Lichtensteins painting Like New, which is an atypical work for Lichtenstein and a telling choice for Obando.
SEPT 2015 | ArtSeen
For his first solo exhibition in New York, Evan Nesbit is showing at both spaces of Eleven Rivington. Comprising painting and sculpture, the exhibition is titled Porosity, which describes an aspect of Nesbit’s painting process, as well as, it could be said, the imaginative speculation undertaken to surmise what may structure the sculptures beneath their painted surface.
NOV 2015 | ArtSeen
This pairing of drawings by Roland Flexner with bronze vessels from the Edo period is both beautiful and thought provokingso much pleasure and intellectual acuity, combined in an exhibition of real depth.
MAR 2014 | ArtSeen
The abstract paintings of Moira Dryer (1957 1992) are due for critical reevaluation. Hopefully the two-part exhibition at Eleven Rivington, Moira Dryer Project, was just a beginning.
JUL-AUG 2014 | ArtSeen
Entering an Adrian Schiess exhibition is not a passive experience, and his current show at FRAC in Marseille is no exception. Spread out over two floors, Schiess has installed individual pieces on nearly every surface, be it hanging on or leaning against the wall, or lying flat on the floor.
NOV 2014 | ArtSeen
Andrea Büttners current solo exhibition, her third at the gallery, brings together works featured earlier this year at the National Museum of Wales in Cardiff and Museum Ludwig in Cologne.
APR 2013 | ArtSeen
This exhibition, comprising ten paintings and two works on paper culled from several private collections, affords viewers the rare, if not unique, opportunity to apprise Al Helds Alphabet paintings, made between 1961 and 1967 andthought by many in this city to be his finest work.
JUNE 2013 | ArtSeen
Collaborative woodcuts made on paper and mounted on canvas, sculptures, collages, and drawings from twins Gert & Uwe Tobias occupy the ground floor of the Whitechapel Gallery.
JUL-AUG 2013 | ArtSeen
Jo Baer remains one of the foremost practitioners of Minimalism, having contributed to the movement many paintings and drawings, as well as writings that fueled the theoretical debates of the time.
FEB 2012 | ArtSeen
Here is a chance to walk through an entire strand of Ellsworth Kellys long and productive careernot yet definitive, because (at 88) he is still adding to it.
MAR 2012 | ArtSeen
Josef Alberss (1888 1976) artwork, while concise in nature, allows complexity to reveal itself with prolonged looking. What is initially declared through simple meanssome lines or a few colorsis free of graphic stasis. Nothing in an Albers stays still.
APR 2012 | ArtSeen
On a visit to New York last November, I visited Carol Szymanski and Barry Schwabsky. On the walls of their apartment are many beautiful works, though the one that had me immediately walking over to take a closer look was a small gouache on paper. It was one of yours.
MAY 2012 | ArtSeen
German Stegmaier makes oil paintings and graphite drawings; he sits well within tradition and displays no desire to work with new or novel materials. He often presents his work in groups, clustered and unaligned.
JUL-AUG 2012 | ArtSeen
Just for now, I would rather stay at street level and save a walk up the staircase at 45 East 78th Street for another visit. Not since Dorothy Millers 1959 Sixteen Americans exhibition at MoMA has a group of Frank Stellas Black Paintings been shown together like thisand here they are, installed on the ground floor of L&Ms plush town house.
OCT 2012 | ArtSeen
Carol Ramas first exhibition was shut down by the police, who removed her paintings from the gallery. Some of the overtly sexual watercolors on display included images of men having sex with dogs and women excreting snakes.
FEB 2011 | ArtSeen
Galerie Johann König is a short walk from Potsdamer Strasse, a new neighborhood for the Berlin gallery scene now long decentred from the original art district of Berlin Mitte. What once formed a haven of cheap, available space after the fall of the Wall in 1989 has now become a chic and increasingly expensive neighborhood for the incoming wealthy of former West Germany.
MAY 2011 | ArtSeen
The central piece of this exhibition is a structure of five vertical and parallel planes, open at the sides and standing floor to ceiling. The sheets of board and window screen material form a structure that is ad hoc, but elegant and open at the sides like a thick, layered, section of wall
JUL-AUG 2011 | ArtSeen
A mobile is characterized by balance and movement; various parts are able to randomly reorganize themselves in response to touch or to currents of surrounding air. This simple device, in effect a kinetic sculpture, is also familiar as a childrens toy and a store window display.
OCT 2011 | ArtSeen
There is something that still surprises when an artist reacts to materials, sounds, or available images in a way that simply feels good or feels right; creating something different where everything is rationally believed to have been done before.
DEC 11-JAN 12 | ArtSeen
What happens in a painting by Amy Sillman resonates with the struggle and discomfort of being a mortal, corporeal being.
NOV 2010 | ArtSeen
In late 1950s Brazil, amid cultural, social, and economic upheaval, changes were registered by new forms of literature, music, and visual art. In visual art, Neoconcretismo combined geometry with sensuality and expressiveness, absorbing examples of the Bauhaus and European modernism.
JUL-AUG 2009 | ArtSeen
Here in Berlin, two timely exhibitions by Imi Knoebel present the artists long preoccupation with color and its material support.
OCT 2009 | ArtSeen
When Stefan Wolpe (1902-1972) began Battle Piece in 1942, it was to have been the first of a series of works for solo piano titled Encouragements, intended as a composers contribution to the struggle against Fascism; part of the genre Kampfmusik that had earlier included chamber operas, theatre music, and agitprop songs. The composition not only addressed the social and political struggles of the day, but also a desire to transform disparate musical idioms into a subjective communication of personal experience.
DEC 09-JAN 10 | ArtSeen
Frank Badur has been part of the Berlin scene from the time he studied here, between 1963 and 1969. He became a professor at the University of Art in 1985, and, like many other German artists who maintain successful international careers, he has continued to teach.