Aug 262022
 

There/Here: A Cry For Help, 2008/2011/2020

Three Carbon Catchers, 2021

The two works above are from Balance of Water, an exhibition of collaborative work by Carol Mickett and Robert Stackhouse,  at Leepa-Rattner Museum of Art in Tarpon Springs, Florida.

Information from the museum about the first image-

There/Here: A Cry For Help, 2008/2011/2020, is a map of the Gulf of Mexico with an overlay of a map of all the world’s water currents. It is meant to indicate that the world waters, as the world itself, is all connected. The Tarpon, representing all life in our waters, is encountering the effects of global warming.

For the second image-

Three Carbon Catchers, 2021- The Mangrove is a major absorber of carbon dioxide. Carbon dioxide, if left in the atmosphere or in our waters is one of the main contributors to global warming. This painting honors the mangrove.

Mangroves thrive in saltwater environments where most plants cannot. They protect our shorelines from erosion and flooding. Worldwide, mangroves absorb about 24 million metric tons of carbon in the soil each year.

From LRMA’s website about the exhibition-

Balance of Water highlights contemporary artists Carol Mickett and Robert Stackhouse whose collaborative work raises awareness of the effects of climate change on our waterways. As this delicate ecosystem nears a tipping point, they explore ways to alleviate the warming of our waters and reveal the consequences of the rapidly changing climate with a sense of mindfulness and urgency. Since relocating from St. Petersburg to Tarpon Springs in 2017, Mickett and Stackhouse unveil their work to their recently adopted community in north Pinellas County for the first time with a series of monumental paintings that tell the overarching story of the effects of global warming.

This exhibition closes on 8/28/22.

 

Dec 042020
 

Currently at Petzel in NYC is Derek Fordjour’s solo exhibition, SELF MUST DIE, which incorporates painting, sculpture and Fly Away, a performance collaboration between Fordjour and award-winning puppeteer Nick Lehane.

From the press release-

The show, Fordjour’s first with the gallery, is an offering of creative labor in response to our current moment, a deeply personal and collective state of anxiety around death and hyper-visible racial violence. It examines the nature of martyrdom, vulnerabilities inherent to living in a Black body, performance of competency, and the liminal space existing between autonomy and control.

In SELF MUST DIE, Fordjour interrogates the inevitability of actual death, made more urgent by the realities of a global pandemic, and points to the aspirational death of the artist’s ego brought into focus by a burgeoning career. It is both cultural manifesto and personal declaration. The show is comprised of three parts: VESTIBULE, a site-specific sculptural installation; Fly Away, a live puppetry art performance; and a suite of new paintings.

VESTIBULE offers a collection of sculptural objects imbued with biblical allegory and the spirit of James Cone’s Black Theology of Liberation. It refashions the gallery as a secular yet sacred space of memorial. Among its features, the small entry compels visitors to undergo a destabilizing bodily shift that elicits an intimate and reorienting experience. A directional light from above slowly combs the entire room, invoking both searchlight and spotlight, ideas central to the recent death of Breonna Taylor. Constructed of bituminous coal and wrought iron, Taylor Memorial hangs from above.

Fly Away, a collaboration between Fordjour and award-winning puppeteer Nick Lehane, is performed by a stellar cast, with an original score composed by John Aylward and performed live by oboist Hassan Anderson. The puppet is a Fordjour-designed, hand-sculpted figure crafted by Robert Maldonado. The protagonist’s narrative arc rises and falls along a journey of personal discovery. Larger themes that course through Fordjour’s body of work become resonant.

Spanning two galleries are several new paintings, executed in Fordjour’s signature collage technique, representing the latest developments in his studio practice. The first is a suite of paintings based on Black funerary tradition. The second gallery presents a broad range of subjects including several at monumental scale.

This exhibition closes 12/19/20.

Oct 102020
 

The Mountain, 2020

The Mountain, Center Painting

 

The Mountain, Center Painting, Detail

Untitled, 2020

Detail of the above painting

Untitled, 2020

Currently at David Zwirner’s 19th Street location is Traveling Light, an exhibition of new work by Belgian-born, New York–based artist Harold Ancart. The stunning large scale paintings were created using oil stick and graphite.

From the press release–

On view in one gallery space will be a new series of paintings that depicts trees. These works were painted between Ancart’s Brooklyn studio and a makeshift outdoor studio in Los Angeles, which he traveled to during lockdown. Pointing to references as varied as René Magritte, Egon Schiele, Gustav Klimt, and Piet Mondrian, who approached this subject matter in distinct ways, Ancart’s tree paintings blur form and color, figure and ground, and figuration and abstraction.

In the adjoining gallery space, there will be two multipanel canvases that situate the viewer between a mountain-scape and a seascape, both monumental in scale. These works are inspired in part by the artist’s encounter with the modernist landscape murals of the American painter Gottardo Piazzoni (1872–1945) permanently installed at the De Young Museum, San Francisco.

The exhibition constructs an immersive landscape experience, and together, the works on view comprise a meditation on the expansive possibilities of painting.

The two quotes from Ancart below (taken from the gallery’s website) describe the concept of the exhibition a bit more.

“It is a very strange time to think about traveling, and it is a strange time to think about freedom. I didn’t conceive the exhibition this way, but I guess meaning always catches up with you. I am opening this exhibition, Traveling Light, at a time when no one travels.… But there are always means of transportation, and I think painting is very much one of them.”

“I actually did conceive the exhibition as a walk.… I think it is very important, as a painter, that you can wander freely through paint. And I think it is very important as a viewer that you can wander equally freely through it. You don’t need to know where you are going.”

This exhibition closes 10/17/20.

 

Jul 302020
 

Happy Birthday to Betye Saar who turned 94 today! This work Still Ticking, (2005), was part of LACMA’s exhibition Betye Saar: Call and Response which opened at the museum in September of 2019.

From the wall description of the work-

Made shortly before Saar’s seventy-eighth birthday, the assemblage includes years and astrological glyphs on the inner left side that correlate to various important dates in her life. The work’s title wittily refers both to the timepieces in the sculpture- which, of course, are not ticking; indeed they are either frozen in time or missing their hands- and to the artist herself, who is alive and well, still ticking, now at age ninety-three.

Jul 122020
 

One of the pieces from Drew Heitzler’s 2015 exhibition Pacific Palisades at Blum and Poe Los Angeles.

Jun 222020
 

Everything is falling apart according to plan, one of artist and writer John Tottenham’s works from his show The Indifferent Sublime, at Maloney Fine Art in Culver City in 2014.