The Only If, 2014, acrylic and polymers on panel, 40 x 50 inches.
From the Press Release:
Berry Campbell is pleased to announce the opening on May 28th, 2015 of an exhibition featuring Jill Nathanson, an artist who has worked to reimagine the tradition of Color Field painting. Using a technique of pouring acrylic polymers, Nathanson’s paintings are characterized by coloristic inventiveness, as the pours create new hues by overlapping layers of translucency. Her paintings evoke what she calls “color desire,” as the fluidity of the forms engage us in seeking color resolutions across the pictorial field, while drawing us to the different spaces that the colors occupy and the ways they attract and repel each other.
Nathanson became fascinated by color painting at Bennington College, Vermont. She arrived at the school in the mid-1970s, when it was at the center of color field abstraction. From Kenneth Noland and Larry Poons, she learned to avoid composing through dark and light tones and to give color an ever-greater role in structuring a painting. Over the last four decades, she has deepened her exploration of color dynamics, seeking to transmit affective realities of seeing. She courts chaos in her method, through employing chance, but she also works methodically—each overlay of color takes a day to dry. For the viewer, her paintings evoke energies in the body as well as optical experience, and the physical presence of each painting resists immediate assimilation, involving a dynamic, layered search for unity.
After her time at Bennington, Nathanson received her MFA from Hunter College, City University of New York. Her first solo exhibition was held in 1982 at Virginia Polytechnic Institute and State University, Blacksburg. Subsequently she has been featured in one-artist shows at many venues, including Hunter College; Roanoke College, Virginia; the Philadelphia Museum of Jewish Art; the Slifka Center, Yale University, New Haven, Connecticut; the Derfner Judaica Museum, New York; and June Kelly Gallery, New York. She has participated in numerous group exhibitions, including Bennington College, Vermont; Stanford Museum, Connecticut; Danforth Museum, Framingham, Massachusetts; the Painting Center, New York; the National Academy Museum, New York; and Taylor University, Upland, Indiana. Nathanson is included in the collections of Agnes Etherington Art Center, Queens University, Kingston, Ontario; Hines Industrials, Boston; Maimonides Hospital, Brooklyn, New York; and Tufts University, Medford, Massachusetts.
Vito Schnabel is pleased to announce the opening of First Show / Last Show, a group exhibition at 190 Bowery on May 16, 2015. Featured artists include Joe Bradley, Dan Colen, Jeff Elrod, Ron Gorchov, Mark Grotjahn, Harmony Korine, and Julian Schnabel.
The artists included in First Show / Last Show are seven of my favorite painters. I have had the privilege of living with some of their works and have long wanted to show them together. There are very few artists whose work immediately conveys its significance, like each of these seven. They represent three generations of great American contemporary art, ranging in age from 35 to 85.
I grew up in New York City, walking by the former Germania Bank countless times. I always wanted to go inside, thinking it might be a perfect place for an exhibition. This is the first time this 1899 landmark building will be open to the public since the bank closed in 1966 and it became a private residence.
Crosstown Arts is pleased to present "Between the Eyes," a group show about contemporary abstract painting and how we see it.
Just as the relationships of pitch and duration can express emotion in music, the formal relationships of hue, value, shape, and placement can collect to create meaning in abstract painting. Featuring the work of six painters exploring distinct modes of abstraction, the exhibition examines the way each artist uses deliberate choices to engage us in the experience of looking. Formal cues such as gesture, color and the use of found objects prompt us to recognize patterns and attribute meaning to certain behaviors. Physicality contends with the pictorial as we both decipher and project meaning into the space of abstract forms.
Timperio works while surrounded by a collection of paintings by friends. Above right is a painting by Thornton Willis.
Studio view with new work.
An older work by Timperio.
Richard Timperio in his studio in Williamsburg, Brooklyn.
Last Thursday I took a trip out to Williamsburg for a visit to the studio of Richard Timperio.
Timperio moved to the once desolate neighborhood in 1979. In addition to his painting practice he opened the first incarnation of Sideshow Gallery in 1994 and continues to operate the seminal space (one of the largest, private exhibition spaces in Brooklyn) presenting the work of Tom Evans, Larry Lee Webb, Thornton Willis, Larry Poons, Dan Christensen, and Chris Martin among many others.
During our visit Timperio presented new work aligned with his paintings currently on view at Andre Zarre Gallery.
Timperio's bold color and interlocking forms lay the groundwork for the paintings' formal concerns and create a backdrop for primed canvas outlines, imperfections in the surface, and scumbled whites.
These elements work together with the newly found solidity of some forms to illicit a certain transcendent excitement. Think California Moonies meet the Transcendental Club of 1840's era Cambridge. Timperio's work embodies that collision of bright certainty with a strong belief in the power of the individual and, to my mind, a link to the divine.
Richard Timperio: Recent Paintings and Works on Paper is currently on view at the Andre Zarre Gallery in Chelsea through May 9.
Timperio generally paints horizontally on unstretched canvas.
New work by Timperio shares a studio wall with work by friends Larry Lee Webb (above left) and James Walsh (just below and to the right of Webb).
I was fortunate to catch a number of great shows this weekend, including these two at Brian Morris Gallery, both on Chrystie Street.
"On the Money” at the 163 Chrystie is a group show including Alison Hall, Suzanne Jolson, Zachary Keeting, Jenna Pirelli, David Rhodes, and Gary Stephan.
“From Now On In” at 171 Chrystie is a group show including Michael Berryhill, Tom Burkhardt, Steve DiBenedetto, Lydia Dona, Fabian Marcaccio, Carrie Moyer, and Alexi Worth.
Brian Morris continues to deliver an ambitious program and these shows are testaments to his efforts. These are two solid groups of artists who have something to say. All of the artists included in both shows have contributed paintings that seek to expand our experience of painting, and to nudge the enterprise along in some way. Perhaps each is successful, but the works by DiBenedetto (who also just closed a killer show at Derek Eller,) Keeting, Moyer, Rhodes, and Stephan are particularly resonant. Like the others in both shows, these artists present very different points of view. They have also brought their A games, and a sense of urgency in their paintings. Chris Martin once penned the phrase “alchemy of the moment” (Everything is Finished Nothing is Dead: An Article About Abstract Painting, Brooklyn Rail, April 1, 2003) in description of what it means to be relevant as an artist. Brian Morris and company have delivered the elixir of life, are in pursuit of the philosophers stone, and will make some gold in the end, to be sure.