Contributed by Jason Andrew / In a 1976 Cincinnati Enquirer review of Joan Snyder’s paintings, the reviewer, Owen Findsen, surmised that she had “picked up a little of this, a little of that … and made it all uglier.” While he found her work offensive, even questioning it’s validity, for those like me who have come to love Snyder’s work, it couldn’t be a bigger compliment. Joan Snyder paints her world from the inside out.
There is a hieroglyph in the Egyptian alphabet that is a representation of a pool with lotuses: the pictograph is a horizontal rectangle with a few stylized flowers and buds emerging from its top surface. There is something comforting about this cool little pool, the idea that it was part of a visual language, appearing in a text here and there, offering a phonetic component (“sha”) to words, but also reminding the reader of a place where they might seek refuge.
On a recent day this fall, the Aldrich Contemporary Art Museum in Ridgefield, Connecticut, unveiled a new exhibition. Centered on star-focused works by master American artist Frank Stella, the show bursts with a sense of joy. And since the curatorial offering, which is formally titled “Frank Stella’s Stars, A Survey,” is scheduled to remain on view through early next May, there’s plenty of time to venture over to the constitutional state in order to see it.
The first major international art event since the lockdown started took place at smaller venues around the city, rather than under a single roof.
BERLIN — It has been a long time coming, but after six months of coronavirus-enforced inactivity, the international art world was re-energized by a hectic week here of live exhibitions and events. With all the summer’s most important live art fairs, exhibitions and auctions canceled, Berlin Art Week, which ended Sunday, became the art world’s first significant international event since March.
In the past few years, the market for prints, editions, and multiples has seen a dramatic uptick. Thanks in part to the popularity of artists who have made these types of replicated works major parts of their practices—like Banksy and KAWS—along with an accompanying surge of younger collectors whose tastes and budgets align with these media, dealers and auction houses have seen a growing appreciation for a category that long played second fiddle to painting and sculpture. Despite this marketplace momentum, one major sticking point remains: What, exactly, is the distinction between prints, editions, and multiples?
On view are some rare proofs by Joan Mitchell and prints by Grace Hartigan from “Salute”, a collaboration between the artist and poet James Schuyler. Also on display are photographs of Joan Mitchell working in the Tiber Press printing studio and some of the acetate sheets painted by the artist before printing the silkscreens.
The current exhibition on view a the Gallery focuses on printmaking, highlighting various styles and techniques within the general medium. Prints are characterized by the impression the unique block or plate leave on the surface - usually paper - that they are printed on, but differ in many preparations, methods, and materials. Here is a brief glossary of the styles represented by the exhibition Print Selections from the Milbank Collection (running November 7th - December 19th).
The art world has taken a bit of a turn since last year diving from high sales possibly fueled by recent tax breaks and leaving total auction sales of works over $10 million down by 35 percent in the first six months of 2019 compared to the same period in 2018, according to the Spring 2019 Intelligence Report by Artnet News. Modern and Impressionist art was less profitable at auction in the first half of this year than it has been in the past, showing a 35% drop in the average price of a work, comparatively. Globally, Brexit is still having a negative effect on the U.K. art market, which is showing the lowest levels in over six years. France’s market is up by 13% - which, according to Artnet, predicts many sellers who would usually sell in London will turn to New York or French markets or sell privately instead. Artnet also shows that abstract painting is not as popular as it used to be – out of all top 10 contemporary artworks this season none were abstract. Currently the most popular trend is figurative painting, and buyers have a more diverse interest than has been observed in the past. “Big spenders are more open to work by women and artists of color, as well as artists who have near-celebrity pubic appeal but have been regarded with cynicism by the art world – like KAWS.”
Painters Reply, curated by Alex Glauber and Alex Logsdail, aims to answer the Artforum questionnaire through an exploration of experimental painting practices starting in the 1970s and continuing to the present moment. The selected artists reveal how the pervasive antipathy towards painting perhaps afforded a greater degree of latitude whereby materiality, application, atypical support, performative impulse and format were all of a sudden in play. The exhibition brings together a diverse group of artists, including some of those published in Artforum’s responses to the questionnaire such as Joan Snyder and Dona Nelson, where the common denominator is aesthetic emancipation.
Franklin Parrasch Gallery presents Mulberry and Canal, an exhibition which examines the early years of the careers of Joan Snyder, Keith Sonnier, and Jackie Winsor, with a particular focus on the period between 1967 and 1975 when the three lived together in a converted multi-story warehouse at 105 Mulberry Street, near Canal Street in lower Manhattan.
Blain|Southern is delighted to announce Rosebuds & Rivers, Joan Snyder’s (b. 1940, New Jersey, US) first solo exhibition in the UK. Comprising new and recent paintings, the exhibition will include a group of monumental triptychs and diptychs alongside smaller-scale works. It offers an insight into the experimentation and visual language for which Snyder is celebrated.
Just yesterday Hudson Yards announced that it would officially open on March 15th, and when visitors first visit the mega-development, they’ll now have even more art to peruse. According to a press release from developer Related, the complex has unveiled large-scale contemporary art installations by three renowned artists–Jaume Plensa, Frank Stella, and Joel Shapiro. “I have always been passionate about the impact art, sculpture and design can have on our lives – the memorable experiences they create and the warmth they bring to the places we live and visit,” said Related chairman Stephen Ross.
"Epic Abstraction: Pollock to Herrera will begin in the 1940s and extend into the twenty-first century to explore large-scale abstract painting, sculpture, and assemblage through more than fifty works from The Met collection, a selection of loans, and promised gifts and new acquisitions. Iconic works from The Met collection, such as Jackson Pollock's classic "drip" painting Autumn Rhythm (1950) and Louise Nevelson's monumental Mrs. N's Palace (1964–77), will be shown in conversation with works by international artists, such as Japanese painter Kazuo Shiraga and the Hungarian artist Ilona Keserü. The exhibition will be punctuated with special loans of major works by Helen Frankenthaler, Carmen Herrera, Shiraga, Joan Snyder, and Cy Twombly."
My mother has spoken about being at an altar when she paints. “It is the altar I go to face myself.” And “Art,” she says, “became a form of worship. Those were my shrines,” speaking about her altar paintings made in the mid-sixties. 5 Her work is her self-created spirituality. It is her calling. She reaches new levels of comprehension about the meaning of life by throwing down herbs upon canvas, awash with glossy green paint and golden glitter. In the 1960s, when “the personal is political” became a rallying cry, my mother was in step with the times. Her early altar paintings from that decade were abstracted versions of the female body, and she would often add tacky materials like gold fringe or fake leopard skin.
For an artist who once famously shrugged off deep analysis of minimalism by saying, “What you see is what you see,” Frank Stella's Moby Dick prints are firework furies of expressionistic colors and pattern work. Currently on view at Anders Wahlstedt Fine Art, a selection of works from Stella’s Moby Dick series displays the artist’s entrancement with Melville’s epic tale.
The mixed-media intaglio prints of the Moby Dick engravings are solemn in their black and white tonalities enlivened with subtle washes of color. In abstract terms, Stella conveys a dramatic sense of roiling waters and breaching whales. The expressive gravity of this series is caught up in the title
“Jonah Historically regarded”, a reference to chapter 83 of the novel. The Old Testament story of Jonah, who deserts God and is thrown overboard during a storm at sea and swallowed by a whale, but who lives to submit to God’s will, is a central metaphor in Melville’s grand narrative.
NEW YORK, NY.- Anders Wahlstedt Fine Art is presenting an exhibition of selected prints by Frank Stella from his Moby Dick series.
Highlight on Hamptons Art Hub- https://hamptonsarthub.com/2018/09/17/exhibitions-nyc-gallery-scene-highlights-through-september-23-2018/
Anders Wahlstedt Fine Art: “Frank Stella / Selected Prints from the Moby Dick Series”
September 20 through October 26, 2018
Opening Reception: Thursday, September 20, from 6 to 8 p.m.
Thank you GalleriesNow for this wonderful 360° digital viewing experience of our current exhibition, 'Lisbeth McCoy / Selected Works, 2010-2018.'
Anders Wahlstedt Fine Art is pleased to announce the inclusion of David Finn’s Crazed Duck, 1984, in the groundbreaking Something Possible Everywhere: Pier 34 NYC 1983-1984 at the Hunter College Art Galleries.
As the gallery approaches its one-year anniversary, Anders Wahlstedt Fine Art is hosting an exhibit of one of America’s most iconic artists. “Frank Stella Circuits Prints” will be on view (and available for purchase) from May 19 to July 16 at the Upper East Side gallery. An artist proof of Pergusa Three, perhaps the most celebrated print the artist has ever made, will be included in the six-print show.
A lot has been said on the idea of “black genius” of late. In February, at the Schomburg Center for Research in Black Culture in Harlem, Dr. Jordana Saggese, Kim Drew, Dr. David Clinton Wills and Juliana Huxtable were part a symposium titled “Basquiat and Contemporary Queer Art,” focusing on Jean-Michel Basquiat as a symbol of black genius. In March, critic Jason Parham, in a review of Kanye West’s Life of Pablo (2016) and Kendrick Lamar’s untitled unmastered (2016) for Fader, called “On the Occasion of Black Genius,” wrote at length about the concept.
Anders Wahlstedt Fine Art is honored to be able to exhibit the complete set of the six prints Frank Stella made for the Exotic Bird Series in 1977. The exuberant lithograph/screenprints of the Exotic Bird Series were based on six configurations of the metal-relief-paintings by the same name. The more expansive and loosened drawing style and larger scale introduced in the Exotic Bird prints, qualities that would continue to characterize the later prints, were inherited from Stella's work in painting.