ArtSlant - Recently added en-us 40 Erin Cone - Hespe Gallery - June 2nd - June 27th <p style="text-align: justify;">Hespe Gallery is pleased to announce "Emergence", a solo exhibition of new works by Erin Cone. An opening reception will be held on Thursday June 4, from 5:30 &ndash; 7:30.</p> <p style="text-align: justify;">In this series, Cone explores emergence as both subject and theme. In the artist's own words "each painting reveals a liminal moment for the figure: bound yet on the cusp of release; passing from obscurity to clarity; the exact moment when everything shifts." Cone seeks to convey "elusive and undefined emotional states" using moody colors in high contrast. Her figures are integrated into the planes of color, yet break free from their one-dimensional existence, playing on the tension between what is real and what is not.</p> <p style="text-align: justify;">Cone received her BFA degree in Painting from the University of Texas in 1998. She has since exhibited twenty solo shows and has participated in over a dozen group shows in the U.S. and in Europe. Cone's work was recently featured on PBS, and her work numerous art publications along with being featured on the front cover of American Art Collector Magazine and Southwest Art Magazine. The artist currently resides in Santa Fe, New Mexico.</p> Sat, 30 May 2015 16:11:32 +0000 Evan Nesbit, Austin Lee, Jamian Juliano-Villani, Carolyn Salas, Henry Gunderson, Matthew Palladino, Eric Shaw, David Bayus - Ever Gold Gallery - June 11th - July 11th <h2><em>Some New American Paintings</em></h2> <p>&nbsp;</p> <p>Despite superficial appearances, the best artists working in painting today are not approaching it as a reflexive, medium-specific extension of modernism. Instead, they are using painting as a frame, tool, or focal point by which to get at a number of pressing contemporary issues. This is a direct result of the new roles that painting has taken in a digital age.</p> <p>&nbsp;</p> <p>Painting has always existed in relation to technology, where the term is understood as more than a synonym for digital devices and the Internet, but as the practical application of specialized knowledge: from the brush, to the compass, to the camera obscura, to photography, and, more recently, to the inkjet printer. However, it is only now that painting is so closely affiliated&mdash;morphologically, aesthetically, and conceptually&mdash;with the digital technologies with which it is engaged. This is not a case of artists appropriating arcane or specialized knowledge, as when artists in the 1960s avidly followed, and made use of, the latest innovations published in&nbsp;<em>Scientific American</em>. Today, artist and viewer alike share the experience of these digital technologies as familiar, available, and omnipresent.</p> <p>&nbsp;</p> <p>The proliferation in the past decade or so of laptops, tablets, smartphones, and flatscreen televisions, all of which are interfaces housed in slender casings, has significantly altered the presentation of images and, consequently, to our perception and consumption of them through a whole new array of materials and means of display. This makes a painting morphologically very close, in form as well as function, to a digital device.</p> <p>&nbsp;</p> <p>What is then presented on such delivery systems, whether the painterly ones of &ldquo;fine&rdquo; art or omnipresent HD displays, is inevitably conditioned by the fact that, today, all things are presented to us first as images. The issue for contemporary painting does not have to do with pictorial space&mdash;depth versus flatness, figure versus ground&mdash;which we cannot perceive anymore as having any significatory weight (i.e., that established by a relative hierarchy between near and far, large and small, etc.) but, rather, is engaged with the question of object versus image. Regarding work that actively engages&nbsp;<em>imagery</em>&nbsp;(a term we prefer to representation), this introduces the central question of scale and, by extension, scalability, for it is this very access to and capability for manipulation that the image holds that leads to this draining of significatory weight from distance and relative scale. Instead of implying a day&rsquo;s journey, or a sublime inaccessible beyond, we know that any image placed before us, as long as it is digital, can be scrolled into and out of infinitely.</p> <p>&nbsp;</p> <p>The artists in&nbsp;<em>Some New American Paintings</em>&nbsp;address these conditions, leaning towards either the material or the optical in their diverse approaches. At the material extreme we have Carolyn Salas, whose planar casts of carved Styrofoam create a complex dialogue between actual and illusionary spatial images, existing in the in-between space of relief. At the other we find Austin Lee, whose crude, spray-painted figures often hover at the edge of legibility. Between these two poles a continuum can be established, and across which this group of artists can be arrayed.</p> <p>&nbsp;</p> <p>Just to the left of Salas&rsquo;s reliefs we might place Evan Nesbit&rsquo;s color-field paintings made by pushing acrylic paint through the back of thickly woven burlap canvas. David Bayus&rsquo;s photorealistic renderings of fantastical subjects feel like the product of a contemporary materialist imaginary. Eric Shaw updates the over one hundred year old constructive language of abstract painting with the pastel colors and drop shadows favored in an age of saturated LCD screens and Photoshopped effects. Henry Gunderson does the same with photorealistic painting, in the vein of Don Nice, Nancy Fish, and Richard Estes, subjecting the overly perfect vistas and objects of these painters to the fragmentation, cropping, and non-hierarchical juxtapositions characteristic of digital technology. The result is both specific and abstract. Something similar can be said for Jamian Juliano-Villani, whose fantastical imagery is tied together equally by a neo-surrealist sensibility of wild combinations that somehow hold together in the world she establishes in each of her canvases, and which is anchored by an almost classical sense of composition and perspective order. These are not dizzying paintings, ultimately, but somewhat stoic and ordered glimpses into the perverse side of the digital imaginary, much as Peter Saul or John Wesley&rsquo;s paintings were for an earlier moment. Matthew Palladino&rsquo;s drawings are related to this neo-surreal vein, through their construction via an array of stickers, which substitute contemporary readymade image and gestures (sticker placement) as well as compositional sense (layering, repetition) for those we might typically expect from a painterly mode.</p> <p>&nbsp;</p> <p>While these artists are not necessarily considering the same issues, what links them together as &ldquo;new American painters&rdquo; is not simply geography or medium, but that they have internalized these conditions as those which painting, to speak to our moment, must acknowledge. We can see how both material and imagistic concerns inflect our experience of&nbsp;<em>all</em>&nbsp;paintings. In this way, as this grouping of artists demonstrate, those working &ldquo;abstractly&rdquo; must address how the non-objective composition is also an image related to a database of historical forms as well as contemporary ones. Just those working &ldquo;figuratively&rdquo; must speak to the material implications of images in a digital age&mdash;the icons on our smartphones that can do everything from summoning a car, to paying a bill, to sending a message&mdash;that are testament to the real world ramifications of the image and the new status of the body in a networked moment.</p> <p>&nbsp;</p> <p>&ndash; Alex Bacon, New York, May, 2015</p> Fri, 29 May 2015 19:49:20 +0000 - Andrea Schwartz Gallery - June 10th - July 24th <blockquote> <div class="gmail_extra"> <div class="gmail_quote"> <blockquote class="gmail_quote"> <div> <blockquote> <div dir="ltr"> <div> <div><span style="font-size: small;">For over 25 years, Tom Bolles has created minimalist works on canvas, that are chiefly identified as color field paintings. In this new body of work, which consists of his well known transparent acrylic paintings and also newly developed pigment prints, the artist has experimented with digital media more so than in his previous series. &nbsp;Tom still maintains his original technique of applying multiple translucent layers of acrylic in an attempt to create weight, depth, and a&nbsp;&nbsp;rich surface. &nbsp;Within these two mediums, Tom has created a unified marriage between the technological and traditional approaches to art making.</span></div> </div> </div> </blockquote> </div> </blockquote> </div> </div> </blockquote> <p>&nbsp;</p> <div class="gmail_extra"> <div class="gmail_quote"> <blockquote class="gmail_quote"> <div> <blockquote> <div dir="ltr"> <div> <div><span style="font-size: small;">&nbsp;</span></div> </div> </div> </blockquote> </div> </blockquote> </div> </div> <p>&nbsp;</p> Fri, 29 May 2015 17:40:20 +0000 Patrick Hughes - Scott Richards Contemporary Art - June 4th - June 27th <p>In <strong>OPPERSPECTIVE,</strong> his fourth solo exhibition at Scott Richards Contemporary Art, celebrated British artist <strong>PATRICK HUGHES</strong> continues his pursuit of the paradox with a new series of three-dimensional, illusionistic, painted wood constructions.&nbsp; A reception for the artist will be held on <strong>Thursday, June 4, 5:30-7:30 pm</strong>.&nbsp; The exhibition continues through <strong>June 27</strong>.</p> <p>&nbsp;In Hughes&rsquo;s quirky and instantly recognizable wall reliefs, the line between sculpture and painting is blurred, and space itself is manipulated with disorienting results. The painted panels jut away at angles from the wall, but when the works are viewed head-on, their three-dimensionality disappears. &nbsp;By reversing the apparent perspective in the subject matter, and uncovering multiple points of view simultaneously, the paintings acquire a sense of enigmatic motion. &nbsp;As the viewer walks back and forth in front of a work, it takes on the appearance of a flat plane that moves and shifts, obscuring and revealing different aspects of the painted scene.</p> <p>&nbsp;Hughes has been fascinated with puzzles, perspective and optical illusion all his life.&nbsp; He created his first three-dimensional paintings in 1964, and has spent the last several decades exploring and honing his signature style.&nbsp; Favorite subjects, appearing in different forms throughout his works, include artwork, architecture, books, landscape, and doors that open onto mysterious hallways or distant horizons.</p> <p>&nbsp;In a recent interview in <em>ARTnews</em>, Barbara A. MacAdam wrote, &ldquo;Hughes&rsquo;s work fits no category but partakes of many.&nbsp; Falling between Surrealism, Pop art, and Conceptualism, with nods at Cubism and even Minimalism, it is most distinguished and energized by homemade magic.&rdquo;</p> <p>&nbsp;Patrick Hughes was born in 1939 in Birmingham, UK, and is based in London. Internationally recognized as a major contemporary British artist, he is also a designer, teacher, and author.&nbsp; His works have been exhibited in major cities such as London, Paris, New York, Toronto, Seoul, Los Angeles and Chicago and are held in many public collections, including the British Library and the Tate Gallery in London; the Gallery of Modern Art, Glasgow; the Deutsche Bibliothek, Frankfurt; and the Denver Art Museum</p> <p>&nbsp;</p> Tue, 26 May 2015 23:28:49 +0000