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bluetorednude, 2014 Acrylic On Canvas 67 X 64 Inches, 170.2 X 162.6 Cm © Courtesy of the artist & Ameringer | McEnery | Yohe

525 West 22nd Street
New York, New York 10011
June 5th, 2014 - August 1st, 2014

(212) 445-0051
Tue-Sat 10-6 and by appointment
painting, sculpture, photography


AMERINGER | McENERY | YOHE is pleased to announce paintingassupermodel, the gallery's first solo exhibition with artist Franklin Evans.  Evans presents a new installation comprised of wall painting/collages, eight large paintings, 1,500 square feet of digital prints on paper/canvas/silk, photographic sculptures, floor works, and sculpture vitrines that alter the architecture of the gallery.  The exhibition will open on 5 June and will remain on view through 1 August 2014.  A public reception for the artist will be held on 5 June from 6:00 to 8:00 PM. 

Evans alludes to Yve-Alain Bois' 1993 book Painting as Model, using parts of Bois' essays on Mattise, Mondrian, and Newman within the context of his current studio investigations.  In addition to the aforementioned artists, these investigations include: Young, Irwin, Giselle, Blue Nude, Romanian Blouse, brian, grid, The Dance, Boogie-Woogie, paint chips, 3-year old, scarface, trompe l'oeil, Halvorson, Guyton, X, Pollock, de Kooning, process, von Heyl, digital recapturing, Dilg, Dupuis, Baltz, Westide Piers, Basel Miami, spine, hands, butt, back, drag, lips, pink, facepaint, arm, wing, flight, floor, primary, secondary, tertiary, derivatives, double negative, Henri, text, arch drawing, energy, field, Weatherford, Jacobs, assistant, fabrication, Kanter, Sololab, DiOrio, Luque, rhizome, measure, clarity, unstretched, object, eyes, smile, orange, Irwin Orange, New York, divisionism, window, wall, photo, Noland, model, financial modeling, Vir Heroicus Sublimus, supermodel, drag queen, markets, belief, Mike Kelley, order, failure, and spreadsheets. 

Evans' practice is a network, in constant flux, in absorption of adjacent content, in defocused experience of the contemporary, in rhizomic replication, and in reference to itself.  The work occupies the field of painting/installation with studio process and sit as its subject.  His work flips between digital and material, process and object, thought and action, and the present and memory.  Evans uses art history (often painting history) as a significant input to his practice, and investigations of specific artists become content and media within his unfolding worlds.  His interest and self-narrated alignment of his practice to Matisse, Mondrian, and Newman made Bois' three essays on these artists in Painting as Model a focus for Evans.  Evans sifts his reading of Bois for content related to his own practice.  His work does not illustrate Bois' thought, but rather Evans uses Bois' text become components of Evans' installations.  These installations offer synaptic experience of art, the heroic, the functional, and camp.

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