ML Fine Art recently presented (posthumously) ‘Basically White‘ which was the first UK exhibition of works by Angelo Savelli. The exhibition focused on Savelli’s contribution to European and American modern art stretching a connection to other of his contemporaries. Eleven seminal paintings were shown alongside pieces by contemporaries such as Robert Ryman.
#angelosavelli
(According to Nicodim gallery) In her solo exhibition, Stay Longer, Chantal Khoury’s paintings ruminate on images of kitchen tables, dining rooms, and coffee tables, all loosely set around the act of hosting others.
Seems like abstractions (as distinct from abstraction) are having a good moment (Philip, Matthew and Jacqueline have all gotten deserved attention of late).
#chantalkhoury
Jeanette Fintz’s paintings emerge from the collision and dissection of overlapping grid systems, using a choreographic process to intuitively edit and transform geometric fragments into expressive, unstable constructs. Informed by plein air landscape painting and Islamic geometric pattern, the work evokes nature, memory, and time through the tactile interplay of gesture and structure. She is showing at 68 Prince Street Gallery.
#jeanettefintz
is in Destination Earth at Ligenza Moore Gallery (along with Don and Chris and others)
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#helenoleary
Michelle (and Distortion Society) gets a nod from Hyperallergic’s run down of things to see this summer. (Meg also gets a mention).
#michellesilver
Last time you saw a blog from me that wasn’t about an abstractionist, was when I wrote about my current project, village impulse. Please come see the show btw, it’s up at Birdland in Raleigh through the end of July, and will transform over the course of its run. The impulse for writing I had this week was, well…
As I often do, I try to reflect on things I’ve written previously as I begin a new blog/essay. Partly to track how my thoughts evolve, and, also to see what threads pull through. One that came to mind was about immediacy which had as its thesis “I’m convinced that there is an experience to be had through Art that is unique to the same and exists- with immediacy- prior to our ability to describe it using language.”
I think of the two as tied together- “immediacy”, as described above, and “impulse” as I’ll describe it in the context of an exhibit about disruption and automatic drawing. The impulse that I’ve been nurturing through this show, which has led to some mark-making I have not been employing in my practice in the last couple of years, is about acting outside of thinking, trusting intuition. Make a mark, react, react to that. The disruption piece comes in as a means to dislodge conscious thought and concern about starting or finishing, and also involved strategies to randomly generate starting points that make this easier. Below is an example of something I made for this show.
Said differently, that impulse that drives me into the unknown is the same one that drives me towards Art that doesn’t ask that I treat it like a codex. I make the type of work I do because I want viewers to experience something that is not yet known to them. Sure this isn’t everyone’s bag. I hope that will continue to be one of the wonderful things about the Art world that we all create together in our weird village. To call out what I’m pointing at, it’s the umbrella thing- lots of types of activities can fit under here. Including ideas that other, specific ideas aren’t good or correct ideas, because that’s an idea, too.
…
Also and… Impulse, more specifically the freedom to act on it, feels so incredibly precious in this moment. I’m referring here to our point in human history, which Jason and the other artists involved in village impulse and myself wanted visitors to be aware of. I say precious because we live in a time when it feels like every. Thing. We. Do. Or. Say. Has. Consequences. What a tragic situation and how beautiful to move outside of that and just… make. We think, at least.
Hyperallergic shouts out Time and Space for Philips newest as one of 10 to see in upstate this summer.
#philipgebhardt
Kristina Kay Robinson visits the studio of Matthew, a multidisplinary artist working in New Orleans who repurposes salvaged materials, for Burnaway. The work is composed of recognizable images and objects much like Hunter.
#matthewrosenbeck
Hyperallergic calls our attention to Moss Gallery’s retrospective (and posthumous) presentation of Beate’s work, Abstract Rhythms; 1960s on 10th Street.
#beatewheeler
Katy at Two Coats of Paint (who is also a painter) compares Rosy’s process to Jack Whitten.
#rosykeyser
Suzanne at Two Coats has words about Michele’s newest at Kate Werble, noting the works look more like a dream than a product of twentieth-century formalism.
#micheleabramowitz
Claire at Whitehot sits downs to talk about Outside the Possibility of Worldly, Mannat’s first solo exhibition in New York.
#mannatgandotra
was also one of the artists (like Constantino) in Nivola, Savelli, Scarpitta: an international trio.
#salvatorescarpitta
Manuela at White Hot takes a look at the American dream through the talent of three Italian artists, touching on Constantino, a multifaceted sculptor and artist.
More (video)
#costantinonivola
Painting After Art is Dead 