I spotted this hilariously huge model of a set of teeth and gums as part of the Healthyville Children’s Wellness exhibit, in the basement of the Museum of Chinese in America, which is on Lafayette Street, a few blocks North of Canal Street, in Chinatown.
CUE Art Foundation is currently hosting Dose, an exhibition of paintings by Beverly Fishman, curated by Soundsuit artist Nick Cave. The show is comprised of a series of luminescent, geometric forms that resemble the shapes of common pharmaceuticals. Straddling the line between sculpture and post-painterly abstraction, Fishman’s optically intense work functions as an avenue for social critique, probing the pharmaceutical industry’s aesthetic decisions and branding strategies.
Fishman has executed many of these pieces on a monumental scale. Finished in glossy sheens, their beveled edges throw fluorescent reflections onto the gallery walls. Her atmospheric pigments test depth in a three-dimensional space, deconstructing the illusion of color as a flat phenomenon, and evoking the corporate iconography of drug manufacturers.
Curator/Artist Nick Cave (seen in the above photo at the exhibit’s opening reception, in conversation with the woman wearing the pink down jacket) notes: “Narcotic Euphoria” is the best way to describe Beverly Fishman’s newest body of work. It is a chromium “call-to-arms” delivered with conversely sinister subtlety.
Cave continues, “It engages with the legacies of Frank Stella, Gary Lang, and Peter Max, all post Joseph Albers, who brought a hard edge to painting and exploited color to tap into an affective and human motivational state. But in this case, Fishman takes all that happens up in the viewer’s head and envelops the heart and pushes it through the entire nervous system.
This exhibition uses the familiar, pharmaceutical shaped, and multi-faceted forms of “the daily dose” as the body for her work, so that her deceptively logical and internally vetted color combinations can “sound off” as the voice. Her masterful and continually shifting use of contrasts — color, shape, and scale — define the spaces, both positive and negative, that seduce and induce the viewer into insensible understandings of themselves and the world’s exertion upon them.
Beverly Fishman: DOSE Curated by Nick Cave will be on Exhibit Through April 5th, 2017 at CUE Art Foundation, Located at 127 West 25th Street, Between 6th and 7th Avenues in NYC.
Inspired by bentwood rocking chairs by Michael Thonet, and recumbent doctor’s chairs, the angle of repose on this Chaise Lounge LC/4 (1928) is adjusted by sliding the chromed steel frame on its stationary base. The LC/4 was a collaborative design of Le Corbusier (Charles-Edouard Jeanneret), Pierre Jeanneret and Charlotte Perriand, spearheaded by Perriand, who had designed other furnishings in tubular steel before joining Le Corbusier’s studio. The model was prominently displayed in numerous exhibition settings designed by Perriand, including the 1929 Paris Salon d’Automne and the Internationale Raumausstellung in 1931 in Cologne.
Photographed in the Museum of Modern Art in NYC.
Hey, do you enjoy the work of legendary minimalist artist John McCracken? I sure do. According to the obituary published in the New York Times when McCracken passed away in 2011 at the age of 76, “he was one of the few artists affiliated with the [Minimalist] movement who did not object to its name, and who made most of his work by hand: sanding and polishing his enamel, lacquer or resin surfaces until their colors achieved a flawless and reflective perfection.” Right now, David Zwirner Gallery, who has represented McCracken’s art for two decades, is hosting an exciting collection of the artist’s late career works, whose monochromatic, highly reflective surfaces are inspired in part by the West Coast’s car culture. Sigh. If you are in any way a fan, you will not want to miss this exhibit.
The exhibition presents key examples from three discrete groups of work — leaning multi-part wall pieces, wall-mounted multi-part reliefs, and freestanding columns — that McCracken created outside of his iconic planks. On view are a selection of the artist’s Beam works, each comprising multiple tall narrow components that lean against the wall, first exhibited in his 2008 solo presentation at David Zwirner.
Some multi-part works, such as Space (2008), consist of a rhythmic combination of an array colors, here blue and green; while others like Song (2008) explore tonal, more subtle variations within a single color, in this case red. Still others are monochromatic.
Titles are likewise employed as a pictorial metaphor in McCracken’s lesser-known wall reliefs, such as Fire (2007), created for documenta 12 in 2007, and Light (2004), which exist in the interstices of painting and sculpture.
Above and Below: Chord (2004)
In the front gallery you’ll find a grouping of four eight-foot tall freestanding columns, arranged in a configuration similar to the artist’s 2004 exhibition at the gallery, exploring the phenomenological relationship between work, viewer, and architecture through their outsized stature.
Sculptures By John McCracken’s will be on Exhibit Through April 15th, 2017 at David Zwirner Gallery, Located at 537 West 20th Street, in the Chelsea Gallery District.
Confession: Julian Schnabel is not an artist whose work I particularly admire. To me, his stuff almost always seems uninspired, phoned in, and, well, just plain ugly. I do not think that I am alone in that opinion. Schnabel’s latest exhibit, New Plate Paintings, which is his first solo show at Pace Gallery since leaving Gagosian, is a collection of nearly-identical variations on a theme: paintings depicting pink roses on a bed of greenery, which is notable for being painted on a relief of broken dishes mounted on the canvas.
Inspired by the roses growing in the cemetery near Vincent Van Gogh’s grave in Auvers-sur-Oise, France, these works are have the same title, Rose Painting Near Van Gogh’s Grave, with an identifying roman number added. Well, it beats the laziness of calling each piece “Untitled.”
There is no denying that the works look pretty, but painting a floral still life on broken dishes, so that the jagged, pointy bits can stand in for leaves, is the kind of idea that would be considered wildly clever if you were participating in a high school art show, or local crafts fair. Is that really all he’s got in the wheelhouse?
Maybe its the physical scale of each piece that qualifies them as impressive, but justifying a $900,000 price tag on piece of comparatively unintesting art just because your name is Julian Schnabel seems a bit contemptuous. Plus, Schnabel has been doing the plate paintings for almost three decades already. Yawn city.
Andy Warhol once said that, “Art is what you can get away with.” This is still a valid sentiment.
New Plate Paintings By Julian Schnabel will be on Exhibit Through March 25th, 2017 at Pace Gallery, Located at 510 West 25th Street in the Chelsea Gallery District
Why was Bird Bird sitting alone on this bench in Central Park on Monday, February 20th as we walked through the park from Fifth Avenue to Central Park West, on the way to the Not My President’s Day anti-Drumpf Rally? I bet I know. To make a donation to PBS here in NYC, you can visit This Link.
Kathe Burkhart’s Prick: From the Liz Taylor Series (Suddenly Last Summer) (1987) is based on a scene from the 1959 film Suddenly Last Summer, starring Elizabeth Taylor. The artist has amassed an extensive archive of film stills of Taylor, which she uses for an ongoing series based on the actress’s image — works she sees as self-portraits related to her own life through the choice of image and text. For Burkhart, Taylor represents an important and iconic early feminist:
“Liz Taylor as an actress was often gender nonconforming, and unlike Marilyn Monroe, Judy Garland and other Hollywood victims, she survived.
Photographed as Part of Fast Forward: Painting From The 1980s at the Whitney Museum of Americana Art, on Exhibit Through May 14th, 2017.