Wednesday, April 16, 2014

UES/LES: April Showers Bring May Flowers


Polke at MoMA


Gorgeous Polke paintings

Detail


One of the greats--these purple-black abstractions, and bitumen abstractions, were superb--but photography is not allowed.

Elsewhere at MoMA, Michalangelo Pistoletto. What I could not photograph at all was the excellent Jasper Johns show--understated and elegant gray paintings and prints based on Lucien Freud's wall of rags.

At the Whitney Biennial, Dan Walsh

Whitney Biennial, Molly Zuckerman-Hartung, best painting by her I've seen: a NO painting

Sterling Ruby's micro worlds--more Ruby below

Louise Fishman

Amy Sillman



Sillman collaboration with Pam Lins

Jacqueline Humphries. Someone should do a show of silver paintings, with this, Rosie Keyser, Ryan Sullivan, other artists working with metallics...


Overview of fourth floor, middle room

Looking left, and

Weird painting on right wall summoning 1960s and 70s children's book drawings...



Laura Owens

Dona Nelson, a frontrunner

Ken Lum

Sarah Charlesworth


Phil Hansen

Phil Hansen


Shio Kusaka

Zoe Leonard


Camera obscura with an iPhone

David Diao

Diao reminding me of Polke's early works and early Baldessari, too

Amazing Rebecca Morris


Slightly reminiscent of Avery

Rebecca Morris

Detail

Elijah Burgher


Downtown, Laura Sharp Wilson at Valery McKenzie, reviewed by Thomas Micchelli here: http://hyperallergic.com

Pat Place at Jane Kim

Place's iPhone photos arranged by pattern narrative...harking back to earlier works of film stills, shown in the back room for context. The beauty in these is their demand to be observed, and the shock of light illuminating cloud. Rich results from an economy of means.

At Brian Morris, a stunning three-person show with Liz Markus, Judith Linhares and Ashley Garrett

Garrett

Linhares

Markus, Linhares

Garrett
There is another show I want to talk about and show: SUMMER WHEAT at POCKET UTOPIA (191 Henry St., LES). This show snapped its fingers in my face and shouted, WAKE THE HELL UP! There is no online evidence of it that I can find but it is easily one of the best and weirdest shows I have seen in a very long time. On FB, Saltz decries painters working like Polke, offering nothing--this is a painter with something, a lot of something. She puts you inside of a painting, a bunch of paintings, and you make your way through a replicated world, assisted by Bonnard, Vermeer and Matisse. Go see it.

Sunday, April 06, 2014

More Matisse: Simon Schama

Simon Schama: how Matisse and Picasso Turned Old Age Into Art

This morning on Facebook, Rising Tide and Pearls From the Ocean filmmaker Robert Adanto posted this link. The discussion of Matisse's aims and goals in particular compel.

One delicious tidbit:
"...his freedom, not just from easel painting, but from the containing edge, the frame, was what Matisse sought from the play of forms he had somehow brought into independent organic life, shapes that embodied the forms of nature, without either laboriously imitating or departing entirely from their visual and tactile presence. So the termini of designed space were joyously over-run; the distinction between figure and ground made ambiguous (especially when Matisse incorporated the discarded shapes from a cut-out into the same composition). He described the correspondence between the play of those shapes and whatever had provoked their visual genesis as a “rapport”; an affinity that he then went on to say was, in fact, love, and “without that love there can no longer be any dependable criteria of observation and therefore no longer any art.”

Another interesting point of discussion is how Matisse (and others, including Picasso himself) considered Picasso a thief of visual ideas. Influence is tricky; how edifying to read about it so long ago.


Matisse in action

The Circus (Jazz) 1943
More about the cutouts:Matisse website



Tuesday, March 25, 2014

Haiku for spring

White chrysanthemum
Before that perfect flower
Scissors hesitate.
Buson

From Wikipedia:

Grave of Yosa Buson
Yosa Buson or Yosa no Buson (与謝 蕪村?, 1716 – January 17, 1784[1]) was a Japanese poet and painter of the Edo period. Along with Matsuo Bashō and Kobayashi Issa, Buson is considered among the greatest poets of the Edo Period. Buson was born in the village of Kema in Settsu Province (now Kema-chō, Miyakojima Ward in Osaka) city. His original family name was Taniguchi.
Around the age of 20, Buson moved to Edo (now Tokyo) and learned poetry under the tutelage of the haikai master Hayano Hajin. After Hajin died, Buson moved to Shimōsa Province (modern-day Ibaraki Prefecture). Following in the footsteps of his idol, Matsuo Bashō, Buson traveled through the wilds of northern Honshū that had been the inspiration for Bashō's famous travel diary, Oku no Hosomichi (The Narrow Road to the Interior). He published his notes from the trip in 1744, marking the first time he published under the name Buson.
After traveling through various parts of Japan, including Tango (the northern part of modern Kyoto Prefecture) and Sanuki (Kagawa Prefecture in Shikoku), Buson settled down in the city of Kyoto at the age of 42. It is around this time that he began to write under the name of Yosa, which he took from his mother's birthplace (Yosa in the province of Tango).[2]
Buson married at the age of 45 and had one daughter, Kuno. From this point on, he remained in Kyoto, writing and teaching poetry at the Sumiya. In 1770, he assumed the haigō (俳号, haiku pen name) of Yahantei (夜半亭, Midnight Studio), which had been the pen name of his teacher Hajin.
Buson died at the age of 68 and was buried at Konpuku-ji in Kyoto.

Friday, February 28, 2014

Matisse - Enticing Luminosity

I am pleased to have my essay on Matisse published on Julie Heffernan and Virginia Wagner's blog, Painters on Painting. Read it here: Elisabeth Condon on Henri Matisse

Tomorrow,  I leave for two weeks at the Morris Graves Foundation. I return Sunday, March 16 for the opening reception of Enticing Luminosity at Lesley Heller Workspace, curated by Olive Ayhens (54 Orchard St.). The opening is 6-8 PM. See you there? Lesley Heller Workspace




Saturday, February 22, 2014

Another new blog, by Deven Golden

When living in Chicago for grad school, I loved visiting Compassrose Gallery--the best in the city, as far as I was concerned, with a full roster of NY and Chicago artists. The Chicago art scene at that time (late '80s/early '90s) was thriving. There was no more elegant gallery than Compassrose, which featured a wooden bench in the viewing room to study paintings at leisure and in comfort.

In "Persistence of Chicago Art Galleries", a blog entry of 3/3/2010 (michelleminkoff.com), Michelle Minkoff wrote,

"Art collectors knew they could get something special at one of the at least 96 galleries that existed in Chicago as of 1990...Deven Golden, director of the Compassrose Gallery in 1990, said, “We used to say we were an international gallery that just called Chicago home, but that dried up at the end of the ‘80s.” Golden, who managed the River North gallery that closed in 1992 after founder Jim Rose’s death, has since moved to New York to pursue his career as a gallery owner..."

Since opening, and then closing, his eponymous gallery in the 90s on Howard Street in Soho (where he exhibited Jean Blackburn, Roland Flexner (of Pour), David Hartt, Fred Holland, David Humphrey, Mark Lombardi, Marilla Palmer, Ruth Pastine, Beth Reisman, Dan Reynbolds, Sylvia Sleigh, and Anthony Viti, Golden currently writes for the excellent online magazine Artcritical and has just started the blog Artmonkeywrench.com. Check it out.