Roma edizione

I was on vacation with my family in late June and discovered some really exceptional places in Rome to look at Contemporary art.  Yeah, I know, I was on the wrong coast and should have been at the Biennale, but as I said, I was on a family vacation and the kids have been anxious to see the Roman ruins and all the splendor that is in Rome and we decided to forgo all the crowds and craziness in Venice.  I never thought of Rome as having a thriving contemporary art scene, but I think that has changed with the recent addition of two new exhibitions spaces, the MAXXI and MACRO.

I don't think that these museums have a large or even nominal permanent collection per se, but they have a feel that is more in the European tradition of the "Kunsthalle", or a space dedicated solely to exhibiting, not actively acquiring and showing, art to the public.  The closest thing that we have to this in NYC is P.S. 1 in Long Island City.  (And now that is not completely independent anymore since its merger with MOMA a little over a decade ago.)

The MAXXI (which stands for Museo Nazionale Delle Arti del XXI Secolo) is devoted to art, design and architecture.  Walking around the building, inside and out, is an artistic experience in itself.  The building is quintessential Zaha Hadid, who designed the museum.  The light, flow and futuristic design is very conducive to seeing contemporary art.  The twists and turns that the exhibition rooms and halls take is surprising - small nooks opening to expansive spaces, artificial light quickly turning into natural light and spaceship, Escher-like stair cases.  The lobby and furniture as well as the piazza harmoniously meld with the entire structure.  There are a few exhibitions on right now, but the most impressive is a exhibition dedicated to Michelangelo Pistoletto and his works from 1956-1974.

Pistoletto started painting self-portraits in his early career, but his breakthrough came when he started creating "Mirror Paintings"in the early sixties.  These paintings, and there are numerous early examples in this exhibition (and he still creates these types of works today - Luhring Augustine showed some in late 2008), were ground-breaking and part of anti-conventional, radical art movement/group in Italy dubbed Arte Povera.  Arte Povera wasn't a stylistic movement by any means but a reflection of anti-establishment thinking that was going on in Italy and throughout Europe at the time.  Pistoletto's painting and later silk-screen images of contemporary people in their life - waiting for public transport, at a party, shopping, demonstrating, in various states of undress, etc - were on highly reflective surfaces where you can see yourself in the work.  These were unique, innovative and highly conceptual.  Here the artist was breaking down the barrier as the canvas as a "window" and the beholder was not just a bystander but now could be an active participant as he or she saw himself within the work of art.  Some examples are below (these were from the same exhibition in that was at the Philadelphia Museum of Art earlier this year - the MAXXI is not so generous with their installation views).

However, my favorite works in the show are the Venus of the Rags and Mappamondo.  Venus of the Rags is part of a larger body of work (stracci) where Pistoletto used discarded pieces of fabric and clothing to wrap individual bricks to make a wall as well as placing them in strategic piles and integrating other materials such as glass to form sculptural pieces.  Venus of the Rags is a small mountain of clothing that is piled as high as a life size neoclassical Venus sculpture that is faced backwards.  Simply, I love the stark plaster white of the sculpture against the highly-textured, multi-colored fabric.  More importantly, this work epitomizes the zeitgeist at the time - the injection of the common, everyday objects into art (see Rauschenberg's "Combine" pieces and Pop Art in the US at the time).  The traditional Venus is literally turning her back on us, a metaphor for the artist turning his back on traditional art making processes.  I love this work.  Its an abandonment of classical sculptural practices for something new and exciting.

Pistoletto has influenced many artists, but what really comes to mind is Christian Boltanski installation that was shown in the Park Avenue Armory in the Spring of 2010.  Boltanski filled the hall with piles and piles of clothing.  Although I believe that the Boltanski's intended message of the work is different than that Pistoletto's, I really think it couldn't have existed without Pistoletto's ground-breaking rag pieces coming first.

Mappmondo (Globe) envelopes everything that I love about Arte Povera.   I knew about this piece in a long time ago, but got to see it in an amazing Arte Povera exhibition in the Summer of 2002 at MOCA LA.  I was so happy to see it here again - like an old friend.  The work was made from from a ball of discarded newspapers that is in an iron cage.  When this ball was made and I believe covered with wax (and not yet in its cage), Pistoletto rolled it around the streets of Turin where it gathered dust and detritus from the sidewalks and roads and permanent marking and sticking to the surface.  There is a very playful and performative element to the work.  I mean, its a ball that one would want to play with and roll around like a child.  But on the other hand, it seriously and consciously is breaking with all art historical hierarchy of subject, materials and practices.  I also like that the dimension that it was rolled around the streets.  Is that the work of art - the action of rolling the ball?  And what we see is this just the result of this act? Or is this the work of art itself?  I like that you don't really know.

There is this lovely brown patina of grime and age shown on the surface and, at the end of the day, there is something simple and primal about it, at the same time being defiant in terms of the process of art making.  Arte Povera literally means "poor art" and here is art made from everyday trash - but now its sitting here in a museum as a priceless object in its cage - untouchable.  Its hard to resolve this and I like that the work has taken on layers of meaning through time.  As Pistoletto took to the street to make this work, I can see it give birth to works such as Vito Acconci's "Following Piece" as well as many others.

Link to MAXXI

Jumping to the MACRO (Museo d'Arte Contemporanea Roma), which is a completely different neighborhood but reachable from MAXXI by a short trolley and subway ride, is an entirely different experience.  MACRO is a series of neoclassical buildings that used to be slaughter houses and as you walk around, you can see the stalls that held the animals, the troughs where the blood used to flow and the hooks to hold the meat.  The spaces are pulled together with consistent lighting fixtures, steel beams, glass and bleached wood doors and ceilings.  (There is also a space that looks like an al fresco after hours club where the museum stays open late and attracts a young crowd.  The MAXXI also has a fantastic restaurant next door in repurposed building which shares the piazza and is also a big draw to that area.)

As soon as my husband walked in he said he could smell the blood from the slaughter house.  These buildings have not been used for that purpose for quite a long time and are strikingly clean.  I said he was crazy and there was no way that he could smell it, but he asked the guard about it and the guard said there are a few people that come into the buildings and are overwhelmed by the smell.  I guess he's special - but I already knew that....

Unfortunately, there were many new exhibitions that were opening the week after we were visiting, but the space itself was very interesting.  They were having quite a large exhibition of Italian design, which included household appliances, furniture, lighting, etc, which were displayed in very cool vitrines.  Now I know how I am going to decorate my Italian home when I retire...

In an area devoted to design innovation, the exhibits were interactive and great for the kids.  Also, there was also a whole display of Italian advertisements and movie posters which were fabulous.  It was actually nice to have the opportunity to focus on these instead of a show by a particular artist.  You can see over the decades through the posters how the interest in style and innovative design are not just important to promote items or offer the feeling of novelty in this country but really ingrained in the Italian culture and an essential part of life.  Everything they make, even a poster for Nutella, proves fun and beautiful, thoughtful and striking and the colors are totally unique.

Link to MACRO

Its worth mentioning that Italy is celebrating its 150th anniversary of unification, so there are a lot of events and exhibitions dedicated to this right now.  Focus on Italian history, innovation, design and art are the focus right now - so its a very exciting time to visit if you can.  I didn't have a lot of time to look at individual galleries, but I will say that I popped my head into Gagosian, who has a prime location around the corner from the Spanish Steps.  Not a surprise that the neoclassical facade of the gallery and the contemporary-designed space are very special.

He has devoted the group show "Made in Italy" to the anniversary of unification and this is expressed by works of artists either inspired by or that have worked in Italy.  Heavy-hitters included in the show are  Warhol, Basquiat, Baselitz, Damien Hirst, Giacommetti, Koons,  Andreas Gursky, Cindy Sherman and Richard Prince as well as the all-important, Cy Twombly, who recently died and lived and worked most of his latter life in and around Rome.

The exhibition seems a little like a chance to exhibit some very expensive, well-known artists  to someone that might have some deep pockets that would be shopping at the luxury stores in the area. In this setting and in this theme of the exhibitions, Warhol's Vesuvius, the Last Supper and the Mona Lisa seem a little schlocky and less inspired than the canvases of someone like Twombly, which seems truly influenced by Italian history, art, architecture and culture on many different levels.   I understand that Warhol was playing into the iconic imagery and speaking to the kind of commodification of these images in contemporary culture, but I think after walking around and enjoying Rome for a while, when you look at these works, they come off almost cynical and not really celebratory as the exhibition claims.

Furthermore,  I was shocked to see the omission of photographs from Gregory Crewdson's recent project that was shown at Gagosian in NYC in the early fall and in Rome in the late winter.  The photographer took black and white photos of the deserted Cinecitta, the movie sets and studios outside of Rome.  Although they were just exhibited a few months prior, I think one of these photographs included in this exhibition would have been exceptional.  On their own and altogether, they looked a bit dry and lifeless (which, I think, is very different than his entire body of work), but its my opinion, that in this context, this group show would have added some life to them and one or two of them would have looked quite stunning and been more interesting.

Link to exhibition

Make sure you take the time to take in the new, MACRO and MAXXI, than just the old when in Rome!

Works on paper by Rosemarie Fiore

Ok, from now on I am going to stop saying that I am not crazy about abstract art, because I keep finding myself being drawn to it, liking it and talking about it a lot more.  I think for the record, I don't like work that looks like "junk", has no understandable point, is not innovative or conceptual in some way and is only 2-dimensional in a figurative sense.  All those things don't apply here....

I went to Priska C. Juska in Chelsea recently to see the second show of works by Rosemarie Fiore and loved it.  I had also seen the first one there as well back in the Spring of 2009.  For me these "paintings" or "drawings" made by fireworks aren't just about abstraction - its formal qualities and the gorgeous colors of the complete work -  but also about the process, process, process!!  For me, the act of making this work is as important as the finished result.

The artist, both in the current show and in the last show, uses a variety of household tools (empty cans, plastic containers, broom handles, wooden boards, etc) to direct, control and "draw" or "paint" with lit fireworks on paper.  It appears that she "colors" the paper with the residue and smoke of the lit firework and then also adds collaged pieces that she has also colored with firework on top creating striking, multi-colored asymmetrical arrangements.

The works are large in scale and seem like a psychedelic depiction of the cosmos.  However, you can't help but think of the gunpowder artist, Cai Guo-Qiang when you look at these and think about the process.   Also you will be reminded of Kandinsky's paintings when you observe the movement and musicality of the colors and forms over the paper.  Furthermore, I like her addition here of layers of cut, monochromatic paper to sections of some of the works in this show.   The geometric qualities of these sections play nicely against the circular forms, lozenges and organic ribbons of color from the fireworks. It also gives the work a more 3-dimensional quality, makes the surface even more interesting and creates a nice tension between the flat and raised areas.  In this respect, it reminds me a little of the cut layers in Hilary Harnischfeger's work (that I talked about in an earlier blog) although the end result is very different.

When thinking about how these works were made (and there is a nifty video showing the artist creating these works), the ideas go much deeper than the surface.  In the process of using fireworks, although the artist is doing her best to harness the power and the effects of the explosives, there is also much created by chance.  These works are the embodiment of both control and randomness and there is a sense of spirituality in that for me.  

There is also the dichotomy between destruction and creation.  As the fireworks violently explode and emit toxic fumes (see the artist in her mask in the video), this results in something special, unique and gorgeous.  If you think of fireworks and how they are used for celebration for personal and national festivities, there is also a sort of meditative quality to the process of utilizing them in these works and also in the finished work.  All these elements create a sort of tension that engrosses you.  Plus, they are just so darn beautiful to look at and the colors - jewel-tones that are rich and deep - just draw you in.

There are also some small, glass-domed sculptures made from the process of lighting smoke bombs while the glass is being formed.  They are interesting and its fun to see the process also on the video.  There is a very organic, primordial quality to theses sculptures and they differ from the paintings in terms of the lack of color.  You can see the remnants of the smoke bombs left within the glass making the works self-reflective in terms of how they were created - which I like a lot. You can see examples, not very clearly - sorry - in the second photo of the installation.

Please go see before the show comes down at the beginning of July.

Link to exhibition

Group Show - Greater L.A.

I don't know if it was just the humidity that was getting to me or the very unpleasant moment of Time-Square crowdedness that had descended upon Soho on a holiday weekend, but by the time I reached the "Greater L.A." group exhibition, my expectations were sky-high.  I was hoping that it had been worth the battle to get to see a spectacular show.  I was disappointed.

I was really excited to see this show which had taken over the 2nd floor of 483 Broadway (at Broome).  This is the first survey I know of in the last ten years in New York that was supposed to represent Contemporary art in Los Angeles.  The survey had both a good mix of established and emerging artists.  The title, "Greater  L.A.", is probably based on the "Greater New York" show that is held at the P.S.1 on a five year basis which basically gives a snapshot or takes the pulse of contemporary art at that moment in and around NYC.

If this is the state of Contemporary art in L.A. - well, then it looks a bit lackluster to me.  However, I think I know enough that's really not the case.  There are very exciting things going on it L.A. and I love that there is completely different set of cultural perspectives, a whole different "American" experience there, and the ideas of individual, isolation, industry, growth, history, art practice and process and Conceptualism is completely separate than our East Coast mind-set.  And I think this was not really successfully presented in this exhibition and I think there was a lack of "craftsmanship" overall.

I read somewhere that the exhibition was planned and executed within a couple of months and it certainly has that feel to it.

But if you know me, you know that I don't like to focus too much on the negative, and there were certainly works that were worth seeing (or worth seeing again).  These were the real highlights for me in the show.....


Alex Prager

I have been drinking the Alex Prager Kool-Aid for a while now and I am not going to stop anytime soon.  She is hot, hot, hot right now - which in my book, is not always a good thing, but she is one of my favorite photographers at the moment and I will continually sing her praises.  These works are from the "Week-end" series of 2009 that I am very familiar with and I think it would have been a huge catastrophe had they not included her work in this show.

Prager is a self-taught photographer whose influences are obvious - you can see the stylings of Hitchcock, Crewdson and Sherman for sure - but the combination of their techniques with her own style, enigmatic narrative, tension of retro with the contemporary against the Los Angeles backdrop makes these works intriguing, sexy and magnetic.  Prager photographs young attractive women, primarily actresses, who are wearing wigs and vintage clothes against a contemporary backdrop. She then manipulates the images.  There is a wonderful cinematic quality to the work with added mystery in terms of what the women are wearing (clothes from the 60s and 70s) juxtaposed to contemporary objects (cars, signs, items).  She also has appropriated and set forth her own visual language that continues through her pictures.  These highly stylized scenarios with high-keyed colors (see other works in this series - link below) are melodramatic, sinister and striking.

In these particular photos, which are the nocturnal scenes of the series, the "bad girl" is played up next to the "forlorn ingenue" in a separate photograph - is this the land of broken dreams?   There is a sense of isolation in an urban environment - something I think that we New Yorkers can relate to.  I love the primordial fire in the last photograph against the manipulated layered parking lots.  What is going on here?  We can keep guessing and making up our own story about it - but we will never know for sure.

I believe her work keeps getting more interesting - especially with her new foray into film.  I can't wait to see what comes next.

Link to more Alex Prager photographs


Melanie Schiff

These are a few examples of photographs that I saw at this exhibition by this artist.  This is the second time that I see them because I also saw them in 2009 at Horton Gallery in Chelsea.   I am not entirely crazy about this photographer's entire body of work, but I absolutely love this series of "contemporary landscapes" that the artist has done.  I love this idea of the lost areas in our cities and the intense graffiti covering these tunnels, ramps and manmade ditches.

The photographs of these "found spaces" are not only photographed quite well, but are layered in meaning.  They can be thought about in terms of a graffiti culture - there is a sort of immortality of one illegally laying his mark or "tag" on the concrete - however this is quickly covered by someone else and there is a sort of tribute to the passage of time.  We can talk in terms of man vs. nature as these manmade areas that we have carved into the land seem to be defunct and abandoned and not even being used anymore.  You can also compare these to the important American landscape photographers and painters that have been capturing our country's beauty over the last two centuries.

I would love to see the photographer explore this series further and see them in a larger scale.

Link to more Melanie Schiff photographs

Karl Haendel

Here are a few examples from graphite drawings from the series "All the Clocks in My House" dated 2010 that were show in this exhibition.  How can you not love these?!  They are more stunning in person for sure.  I believe the artist literally took photographs of the clocks in his house and drew from the photographs.  There is an incredible precision to the drawings that only when you are up close to them can you distinguish them from actual black and white photographs.  I love his use of cropping and perspective here.  More importantly, I enjoy the concept of capturing time or the idea of the passage of time or how we spend time in our personal life.  Would love to see more work by this artist - I believe there is a show planned for his work in the fall of 2011 at Harris Lieberman.

Mark Grotjahn

There are three small, jewel-like colored pencil drawings by established artist, Mark Grotjahn.  As you know, I am not a huge fan of abstract art, but I have always loved all the works by Grotjahn.  Unfortunately, I cannot find the exact images that were in the show, but this is very, very similar to the works that are there.  He is a true colorist and although over the years he has built upon and developed the same visual model and system, its hard not to continue to be intrigued by his work.  I am crazy about the color and the cold, straight-forward formalism.

Currently, there is an exhibition at Anton Kern in Chelsea of new work by Grotjahn.
Link



Also there are also some works by Carter Mull, Jonas Wood and Sterling Ruby that you shouldn't miss if you go.

Its worth stopping by if you are in the neighborhood to see the works that I mentioned above.  I do hope that they continue this exhibition on a regular basis, because its great to break out of our East coast mentality and see a different perspective (just with better execution).

Link to exhibition - wish the site was a little bit better in terms of showing the actual works in the exhibition (be sure to check the days and hours they are open before you go  - not normal gallery hours)

Photographs by Rinko Kawauchi

I have issues with art exhibitions in stores, especially high-end ones on Madison Avenue.  I really do not like the blurring of lines between art and luxury item - it really bothers me and I think it does a disservice to the artist and his or her career.  Yeah, yeah - I know - I live in NYC - who am I kidding?  Hello - Warhols at Christie's - that's the ultimate in luxury items, right there.

But again - I am a bit of a purist when it comes to art venue and I probably need to get over it.

However, I saw this photographer, Rinko Kawauchi, for the first time at AIPAD in March (I am not sure why I hadn't discovered her work before - she is very popular in Japan and has published a multitude of books of her photography, but I think this is her first solo show in the US - so that may be why) and I had heard that her new body of work was going to be shown at the Hermes Gallery, which is on the 4th floor of the store on Madison and 62nd street in late spring.

First about the space - I hate to say it, but its really nice.  Natural light pours in like a waterfall through the enormous skylight just above the  4th floor.  There is nothing there except for the gallery and actually hardly anyone was there and it was practically silent - a perfect setting to see this work.

Kawauchi captures the sort of magic that happens at a moment in the everyday.  There is a focus on the chance beauty of things - whether it is a minute frog taking a short rest on a gargantuan hand, the over exposure of a rose, a dead bird or an eclipse.  I had only seen her work in the small scale, but here the works are a bit larger (40x40), but do not lose the kind of reserve and simplicity seen in her earlier photographs.  I love how light becomes ultimately as important as the subject in her pictures.  At first glance, the images seem to be sort of haphazard - a focusing in on the small and then with the next image, a larger landscape of light breaking through trees or an imposing rocky crag.  But after a while, you begin to see that they all relate to life, death and the eternal.

These works are uncomplicated and there is a silence that pervades her work - a welcome respite in our loud and crazy times and the antidote to the constant bombardment of images in our everyday life.  Here we can take a moment and see our own mortality - that there is a life cycle and that the natural world will continue without us, but there is joy in that because we learn a lesson here.  The small, precious moments in life that we miss - that Kawauchi has captured here for us to behold and in her past photographs (please look up her earlier work - its fantastic!!), we should slow down and take the time to see, understand and celebrate the beauty.  At least, that's how I feel when I look at these and her body of work.   As she exercises restraint in the way she approaches the image, I find my emotions in looking at them a bit overwhelming.

Please don't miss this show.  (Sorry - there is no link to the exhibition)

(I have also just heard that there is a dual exhibition with her and another Japanese photographer downtown at Mountain Fold gallery of recent photographs from the devastation of the March 2011 earthquake in Japan.  I haven't seen it yet but anxious to go.)

Paintings by Damian Loeb

There is an exhibition of photorealist paintings by self-taught Damian Loeb up until mid June at Acquavella.  I have been following his career for a while (from when he splashed on the scene with Mary Boone years back).   There was debate back then surrounding his staying power or whether he was a flash in the pan.  But clearly those that believed that he had a strong career ahead of him won.  This is his second show at blue chip Acquavella.

Loeb's early work was culled from images from media - advertisements in magazines, etc.  Loeb then appropriated images from movies, specifically science fiction and horror movies.  Although they were oil paintings, there was a quiet and unnerving quality to the works that reminded me of Gregory Crewdson's photographs, which he has carried onto his later work.  His last exhibition with Acquavella was both landscapes and painting from his own photographs of scenes that looked as if they were film stills.

In this show, Loeb's work is equally as beautiful as in the past, but I think shows more depth, especially psychologically.  In this series, he focuses on pictures that he took of his wife over the last seven years and painted from these images.  The moments that he has captured are truly intimate - there is an ease between her and the viewer - which makes us somewhat uncomfortable as we are confronted with her relaxed nature and her nudity.   I am not sure if its because of the way she stares directly at you in some works (a contemporary Olympia), the immediacy you feel from the modern furniture and surroundings or just his genuine talent for capturing a moment so real you feel like touching the work to make sure its actually a painting; I am jarred by the fact that I am walking in on a very private moment. 

His eye for color, composition, cropping and technique is as good as any Old Master.   There is a Vermeer quality to his treatment of light in his paintings that is exquisite and his use of black and restraint of hue reminds me of the Spanish masters.  The theme of the bather is repeated - in the tub, in the shower and even as you view her mannerist back as she bends over a child (I think compositionally from Degas' bathers).  I love his use of 3 x 3 ft and 4 x 4 ft square format for these paintings (rather than his very horizontal, long rectangular format he has used in the past).  You truly feel like your are looking through a window and completely feel like a voyeur.  

My favorite work, by far, in the show is the one above.  His wife is lying on the bed horizontally bathed in the blue glow of what we can imagine is a flat screen TV.  I love the dichotomy of the traditional technique and the idea of the nude - which has been painted for centuries - truly updated and made contemporary by the invasion of technology here.  And what makes the work even more dreamy, sexy, magical - is not his gorgeous wife in her bra, but the treatment of the wrinkled sheets and pillows captured in the yellow light behind her.  You can almost see the imprints of the couples head on the pillows that sit somewhat askew - the memory of an intimate moment between a couple - whether lying in bed reading together or otherwise.  I am glad to be a fly on this wall here.

A few things now on the Lower East Side that I like

I had a marathon day on the LES on Friday and here is a few things that I liked.

There is a show that you shouldn't miss at Rachel Uffner with her second show of works by Hilary Harnischfeger.  (She also had an amazing solo exhibition of her works in her booth at the Armory show a couple of years ago.)  I love these!!   They are smaller 3-D abstractions made from layers and layers of multi-colored paper (she colors them herself) that are tightly compressed and cut with plaster, rock and clay that are molded into organic forms.  These sculptures are hung on the wall, and remind me of either weather-beaten sea rocks or coral, solidified magma or a model of a mountain range turned on its side.  They are gorgeous and although there is a kind of unfinished quality to them, you can also see the effort and labor it took to get them balanced in terms of color combination, hue, form and materials.  There are also some new ceramic works that look like vases that are freestanding.  She uses the same materials as in her wall sculptures, but a significant part of them are glazed and fired clay.  They remind me of the kind of half-done paper weights that I made as presents for my parents as a child, but I mean that in a good way.  They also remind me of smaller, abstracted Betty Woodman ceramics, but I appreciate these much more - I like the combination of materials and the colors and they are less garish and more accessible than Woodman's.  There is also a very large work that is shaped like a rectangular canvas hung on the wall (I think her first in this scale) that really straddles the mediums of painting and sculpture.   And be sure to check out the sides of the work - they are as interesting as the front!!

Link to exhibition

There is another fabulous show at DCKT with paintings by Timothy Tompkins (maybe their 3 or 4th show with this artist?).  The artist has been working in the same method for a number of years - taking imagery, not his own, and manipulating it.  He then paints these altered images in glossy enamel paint on aluminum where there is an intense blurring effect when you stand back from the painting.  In this show, the images primarily focus on explosion - be it fireworks at the Olympics in Beijing or a rocket blasting off into the sky.  There is also a more subdued painting of a spider web (which makes me think of Vija Celmins - although totally different style) and a fiery clouds.  I love this work for a variety of reasons - I love its magnetic effect because of its blurred nature.  Your eye doesn't want to look away because your brain is constantly trying to decipher all the details of the image through the lozenges of intense color.  When you get very close to the painting, there is a wonderful second discovery of the layers and layers of complimentary and contrasting colors.  The surface of the painting itself, in all its slickness, its a thing of beauty.  When you are very close, the images becomes almost abstracted (not unlike an Impressionist painting - but here entirely controlled).  The artist is a brilliant colorist - I feel that some of the colors he uses I have never even seen before and probably don't even have a name.   I also love the kind of dichotomy of the images of explosion - with the blurring you can't really tell - is this a celebration of a global athletic event or superior technology or is something violent going on here?   The images are above, but these works really can only be truly appreciated in person.

Link to exhibition

I don't know much about this artist, but I really enjoyed looking at Ben Grasso's paintings at Thierry Goldberg.  The colors are rich and the brush stroke a bit loose in these fantastical images of houses being spun about and disintegrating before our very eyes.  They remind me of Adam Cvijanovic's paintings of a similar subject that I haven't seen for a while - but also really liked.  Here the scale is smaller than the latter artist's work and with the looser brushwork, there is a little more interesting play on the surfaces of the painting.  Also, the vegetation that surrounds the levitating houses - plants, trees and grass - also seem to  explode in a fury.  There is a deconstruction around the center of some of these images into vertical and horizontal planes which makes me think of one of my favorite German contemporary artists, abstracted landscape painter, David Schnell (who for some reason is not represented in the US and doesn't have such a huge following here - not sure why?).  

Is this what happens to homes during a tornado?  Its a mystery because the sky is so blue....

Link to exhibition

Lastly, I went to the 11 Rivington exhibition of Caetano de Almeida paintings.  The paintings are large, brightly-colored, geometric abstractions that are cool, but for me, they lack a little depth (I will attach a link below anyway).  However, if you peek around to the back for a wonderful suprise, there are some prints that are fantastic.  Maybe its just my love of German Expressionism and Modernism, but there is a handful of fabulous prints by the contemporary artist, Volker Hueller.  He had a show with the gallery and the associated, Salon 94, last year of paintings and paintings with collage (I saw an example of one in the back - fantastic).   These are etchings in which the artist manipulates with watercolor after the impression.  The imagery is figurative - but part Cubist, Surrealist and very expressionist.  There is an image that reminds me of Georg Grosz and the palette is also nostalgic of Klee and Schiele.   Right now I don't have images of these exact prints that I saw - I will try to find them this week and add them.  But here are some examples above and there is a link below to a show that he had in London with Timothy Taylor that has very good examples of similar prints that I saw.

Hueller's exhibition last year at Timothy Taylor in London

Link to Almeida exhibition