Oct 052021
 

Kim Anderson, “Alone Together”, 2021

Stereoscope for viewing the above painting

Skyway 20/21: A Contemporary Collaboration, is the second iteration of a joint exhibition across four institutions that highlights contemporary art created in the Central Florida region. Artists selected by a jury are from five counties- Hillsborough, Pinellas, Pasco, Manatee, and Sarasota. The exhibitions are an excellent sampling of the work being made in the Tampa Bay area.

The works shown in this post are from the exhibition at the Tampa Museum of Art. The museum has a video playlist on YouTube that includes all of the artists in the exhibition discussing their work. The links below are to the artists’ websites or those videos.

Selina Román “XS” 2019

For Selina Román’s XS series, she created abstract self portraits that examine standards of beauty in relation to expectations of weight and body. The title XS references an extra small size and alludes to the word excess.

This exhibition closes 10/10/21.

 

Sep 202021
 

Jake Troyli, “Shhh…this is the best part!”, 2018

Jake Troyli, “Shhh…this is the best part!”, 2018 (detail)

Jake Troyli, “Shhh…this is the best part!”, 2018 (detail)

Jake Troyli, “Shhh…this is the best part!”, 2018 (detail)

Skyway 20/21: A Contemporary Collaboration, is the second iteration of a joint exhibition across four institutions that highlights contemporary art created in the Central Florida region. Artists selected by a jury are from five counties- Hillsborough, Pinellas, Pasco, Manatee, and Sarasota. The exhibitions are an excellent sampling of the work being made in the Tampa Bay area.

The works shown in this post are from the exhibition at the The Ringling in Sarasota. I’ve included links for these artists as well as those not pictured.

Heather Rosenbach, “American Dream Byproduct”, 2018

Heather Rosenbach, “Class Warfare Shooting Star”, 2019

Eric Ondina, “Miss 911”, 2018

Eric Ondina, “Miss 911”, 2018 (detail)

Eric Ondina, “Palms”, 2020

Eric Ondina, “Keep the Change”, 2020

Ya Levy La’ford “American/Rōōts”, 2021

This exhibition closes 9/26/21.

 

Aug 182021
 

I Thought Freedom Would Set Me Free (And You Gave Me A Song), 2020

Hey Tomorrow, Do You Have Some Room For Me (Failure Is A Part Of Being Alive), 2021

Currently at Lehmann Maupin’s New York location is Hey Tomorrow, Do You Have Some Room For Me: Failure Is A Part Of Being Alive, the gallery’s first exhibition with New York-based painter Arcmanoro Niles. The painting’s colors are intense and bright and often utilize gold tones and glitter, contrasting with what they depict.

From the press release

Featuring a series of new portraits, still lives, and a single landscape, this exhibition continues the artist’s critical investigation into the function and form of historically revered genres in painting. Niles is best known for his vivid, brightly-hued canvases that illustrate the seemingly mundane aspects of daily life―a man about to get into his car, a father and daughter sitting on their stoop with their dog, a woman waiting at a bus stop. His subjects are drawn from photographs of friends and relatives and from memories of his past, offering a highly personal record of contemporary life. The paintings, though autobiographical, engage with universal subjects of desire, hope, fear, and failure, while also recalling numerous art historical predecessors, including Italian and Dutch baroque, history painting, Color Field painting, and ancient Egyptian sculpture. For Hey Tomorrow, Niles has created a number of his distinct portraits, but the exhibition also features still lives and interiors that become surrogates for the figure―a cluttered bedside table, a urine test in a doctor’s office bathroom, or a kitchen table littered with liquor bottles and food containers….

…The titular work in the exhibition is the only landscape featured and the first Niles has created in his professional career. The painting, Hey Tomorrow, Do You Have Some Room For Me (Failure is a Part of Being Alive), depicts an idyllic view from the edge of a body of water. The surface is blue and calm, a tree occupies the left side of the composition, and the foreground is marked by a row of rocks. The clouds are a vibrant pink that stand in stark contrast to the pale blue sky. The serene scene is the outlier in the exhibition and offers the viewer “room” for contemplation, self-reflection, a moment of pause in the otherwise dense body of work. In depicting not only people close to him but the places and times they inhabit, Niles creates his own chronicle of life today. Each painting invites us to consider the time in which it was made, as well as our own histories―our struggles, successes, and desires for the future. While most of the paintings represent the past and the present, for Niles, the painting Hey Tomorrow offers space to imagine tomorrow, and what might come next.

This exhibition closes 8/27/21.

 

Aug 132021
 

Dolores Coe “Perimeter”, 2019

Dolores Coe, “Borderland”, 2020

Dolores Coe, “Borderland”, 2020 (detail)

Skyway 20/21: A Contemporary Collaboration, is the second iteration of a joint exhibition across four institutions that highlights contemporary art created in the Central Florida region. Artists selected by a jury are from five counties- Hillsborough, Pinellas, Pasco, Manatee, and Sarasota. The exhibitions are an excellent sampling of the work being made in the Tampa Bay area.

The works shown in this post are from the exhibition at the Museum of Fine Arts, St. Petersburg. I’ve included links for these artists as well as those not pictured.

Gabriel Ramos, “Mi Isla”, 2021

Gabriel Ramos, “Mi Isla”, 2021 (detail)

Savannah Magnolia, “Chemical Inhalation”, 2019

Savannah Magnolia “In Big Pharma We Trust”, 2019

Savannah Magnolia “In Big Pharma We Trust”, 2019 (detail)

Savannah Magnolia “In Big Pharma We Trust”, 2019 (detail)

Keith Crowley, “Rain Season”, 2019

Keith Crowley, “Nocturne”, 2020

Bassmi Ibrahim, “Awareness 41”

Bassmi Ibrahim, “Isness 158”

Bassmi Ibrahim, “Isness 158” (detail)

The exhibition at this location closes 8/22/21.

Aug 062021
 

 

Calvin Marcus’ Los Angeles Painting, 2018, was part of the 2019 Whitney Biennial. The next one is postponed until Spring 2022.

Marcus’ current work can be seen in Beverly Hills at Clearing until 9/3.

 

Aug 052021
 

hic manebimus optime, 2021

Ave Maria, 2019

Resolute in Privation, 2021

The Temptation of Christ, 2020

The Courtier, 2021

Currently at Matthew Marks Gallery in New York is Julien Nguyen’s first one person show at the gallery, Julien Nguyen: Pictures of the Floating World.

From the press release-

Nguyen is known for his deftly rendered paintings that combine elements of art history, science fiction, and contemporary subjects. His interest in worldbuilding can be seen in several new paintings that use biblical and classical themes as a starting point, including Ave Maria (2019), a take on the Madonna Enthroned, and St. John the Baptist (2020), a reworking of Caravaggio’s John the Baptist featuring one of Nguyen’s friends as the model.

The exhibition also highlights Nguyen’s recent emphasis on portraiture, with depictions of friends, lovers, and fellow artists painted from life. He has said of his art, “Reality occurs only in the intimacy of understanding and being understood.” The Los Angeles studio where he lives and works can be seen in several paintings, including one that presents the view from a second-story window in a depiction as thoroughly detailed as it is inventive.

The exhibition’s title refers to the visual art of Edo-period Japan, a decadent period of flourishing culture. An enthusiast of history, Nguyen uses the past as a lens through which to view, analyze, and reframe our present moment. As Zack Hatfield has described in Artforum, “Some declare the end of the world; others make new worlds. Julien Nguyen does a bit of both.”

If Nguyen’s work looks familiar, it may be because he also collaborated with Ottolinger on its fall 2020 collection, which was then worn by several celebrities.

This exhibition closes on 8/13/21.

Aug 012021
 

Act Up, 1992

 

Arse Injected Death Syndrome,1993

Currently at David Zwirner’s New York locations are works by British artist Derek Jarman. They are part of the gallery’s series of curated solo exhibitions More Life  which includes artists whose lives were cut short by HIV/AIDS related complications during the first twenty years of the epidemic.

From the gallery’s website-

Jarman trained as a painter from 1963 to 1967 and continued to paint throughout his life, latterly in a studio at his cottage in Dungeness, England. In his paintings, words and abstract colors, rather than overt imagery, convey the artist’s personal and physical experience with AIDS. Hovering between abstraction and language, he subverts the means through which the media and the government address and represent people living with AIDS and the virus. These works linger in the experience of a body failing, and a body being failed by larger systemic bias, inaction, and homophobia.

Drawn from Jarman’s Slogan paintings (1992–1993), the works on view feature scrawled phrases such as “Arse Injected Death Syndrome” and “AIDS Isle” across expressionist canvases. Selected works from this series were included in Jarman’s landmark solo exhibition QUEER at Manchester City Art Galleries in 1992. Commenting on the massive exhibition banners hung from the museum’s facade, Jarman called them “a world first for civic gay pride.”

Also on view is Jarman’s incredibly moving film Blue.

From the gallery website-

Premiered at the Venice Biennale in June 1993, Blue was made after an AIDS-related infection rendered Jarman temporarily blind. Afterwards, as a result of lesions discovered on his eyes, the artist suffered a condition whereby vivid flashes of blue light interrupted his vision.

The film rejects images because, according to the artist, they “hinder the imagination and beg a narrative and suffocate with arbitrary charm, the admirable austerity of the void.” Instead, an unmodified, 75-minute screen of Yves Klein’s “International Klein Blue” is accompanied by a soundtrack of music and sounds. The voices of Tilda Swinton, Nigel Terry, John Quentin, and Jarman read a haunting combination of Jarman’s own poetry and excerpts from his hospital diaries.

Blue not only recounts Jarman’s corporeal experiences with the virus, but also demands that viewers meditate viscerally on color, the void, and the somatic experience of living with AIDS. The film is Jarman’s last feature, completed months before he died.

The interview below provides some background on the artist, and includes clips from the film.

This exhibition is on view until August 3rd, 2021.

 

 

Jul 282021
 

Texas Louise, 1971

Where is Lucienne?, 1971

 

Where is Lucienne? (detail), 1971

Where is Lucienne? (detail), 1971

Frank Bowling’s incredible paintings are currently on view at two of Hauser & Wirth’s locations, London and NYC, reflecting the artist’s time living in both cities. The paintings above are from the New York location.

From the press release-

The exhibition charts Bowling’s life and work between the UK and the United States. Born in Guyana (then British Guiana) in 1934, Bowling arrived in London in 1953, graduating from the Royal College of Art in 1962. He later divided his time between the art scenes in London and New York, maintaining studios in both cities. London is the city where Bowling trained as a painter and achieved early acclaim. New York is the city that drew him to itself at the height of the Civil Rights movement, where he became involved in discussions of Black Art – New York was a place of fresh energy and ideas for an artist in search of new ways to make paintings.

Bowling’s transatlantic orientation reveals itself in a shift from his early engagement with expressive figuration and pop art, to an immersion in a uniquely poetic abstraction that continues to evolve even today. Visible in his work are the legacies of both the English landscape tradition and American abstract expressionism. Developing in and between two cities over the course of decades, Bowling’s exploration of light, colour, and geometry can be understood as profoundly influenced by the two great rivers of his life: he has maintained studios close to The Thames in London and the East River in New York, absorbing the brilliance of the rivers’ light into his vision. Bowling would often begin a work in one city and finish it in the other, merging the atmospheres of both. In his own words, ‘I would just roll the lot up and move. And I knew that when I got to the other end, I could roll them out again and continue to work.’

Bowling’s restless innovation on the painted plane endures in his latest works. He continues to break ground through the use of thick impasto textures, acrylic gels, collage, stitched canvas, and metallic and pearlescent pigments. The complexities of his upbringing in Guyana and his constant journeying between London and New York have only served to activate the richness of the different influences of each location. His paintings are a celebration of life lived in varying lights and colours.