Posts Tagged ‘NYC’
The work of 74-year-old painter PETER SAUL reveals an artist whose vigor for wild Cartoon Expressionism remains undiminished by age. A pioneer of Pop Art who wears his pulp influences on his sleeve, Saul has created some of his finest modern work in this show of mostly large scale new paintings now on display at NYC's venerable DAVID NOLAN GALLERY, all of which explode with the trademark color and humor inherent in all of the artist's most memorable work. Rightfully, the paper of record has taken notice:
The irrepressible Peter Saul, now 74, continues his cheerfully acerbic, riotously goofy ways. The paintings in this entertaining show are made in Mr. Saul’s signature Pop-Surrealist cartoon style. With their rubbery, pneumatic forms neatly rendered with a spongy, semi-pointillist touch in glowing colors, they are like much-enlarged stills from a twisted animated film.
There are three different types of pictures: weirdly personal, violently political and insouciantly art historical. In “Viva la Difference,” a grinning bon vivant in pajamas with a martini in one hand wraps his arm around an amorphous blob that sprouts multiple breasts and is perforated by numerous vaginal orifices. (Talk about your male gaze!)
On the political front, there’s “Stalin & Mao,” in which the dictators are represented as giants punching the heads off enemy soldiers. As for art history, “Better Than de Kooning,” a translation of de Kooning’s “Woman” paintings from the 1950s into a picture of bulging, writhing, tubular forms, is visually captivating and amusingly Oedipal.
“Beckmann’s the Night” is based on a 1919 painting by Max Beckmann. In Mr. Saul’s version, a green maniac armed with a knife and a pistol attacks a naked blonde tied by her wrists to an overhead beam, while Beckmann himself licks the swollen foot of a half-naked man who hangs by the neck. A careening bullet rips through the flesh of the strung-up victims. Mr. Saul’s picture reminds us that few sights are more gripping to behold than scenes of horrific carnage.
—KEN JOHNSON, NYTimes
On display until May23rd, consider this a must-see show of the highest order. HAVE A LOOK: Read More
Every nascent artist knows that a glowing review in the NY TIMES can do wonders for "making" a career in the art world. Incredibly deserving Supertouch buddy TOMOO GOKITA got just such a boost this week when art writer KAREN ROSENBERG took notice of his excellent new show "Champion Carnival" at ATM GALLERY (previously covered HERE):
TOMOO GOKITA: ‘Champion Carnival’
ATM Gallery, 621 West 27th Street, Chelsea (through May 2)
"If you think that black-and-white painting is the province of Minimal and Conceptual artists, Tomoo Gokita’s strong second solo show in Chelsea will shatter your illusions. Mr. Gokita, a Japanese draftsman turned painter, invokes Surrealism, Op Art and post-painterly abstraction without ever dipping into color.
Mr. Gokita, who works in gouache and on a range of scales, specializes in controlled chaos: small areas of tonal modeling suggest a black-and-white photograph torn into tiny pieces and rearranged. Insectoid B-movie forms, as in “Solid State Survivor,” and occasionally puerile humor, as in “Hemorrhoids,” temper the palette’s austerity.
Female figures seem to inspire the most arresting compositions and varied brushwork. The limbs of the woman in “Night and Day” have the even, metallic sheen of forms in a Fernand Léger painting; her hair, meanwhile, is a frosted mass, like a thundercloud. And in “Kathryn,” a similar hairdo is a foil for a striped shirt and neat button earrings. The face is a featureless slab.
There’s something uncanny about Mr. Gokita’s art; it could almost be a black-and-white reproduction of a full-spectrum painting.” —Karen Rosenberg
Wow, take a trip in the way back machine to when the old New York was the only New York, the subway looked like a rolling art gallery, and FUTURA (then known as FUTURA 2000) and MADONNA were coupled up big time...
Controversial Algerian artist ADEL ABDESSEMED whose works depicting animals in often violent and fatal situations has brought his incomparable vision to American shores with his first NYC solo gallery show “Rio” at DAVID ZWIRNER. Opening last weekend to a crowd that included the awestruck alongside the aghast, the show’s crowing installation was a massive sculpture of twisted and intertwined plane wreckage that transformed the original vehicles into what closely resembled a trio of wrestling earthworms that inevitably brought to mind the crash landing of a passenger plane in the Hudson River this winter. The most divisive works, of course, could be found in the exhibition’s screening room where short films of animal fighting and abuse were screened in loops as an illustration of cultural violence not intended for the faint of heart. In fact, this is exactly the type of work Republicans usually trot out in front of Congress when lobbying against Federally subsidized arts programs. Explaining the show’s title, the artist said, “The show is called Rio, meaning river. I observe the world with the same fascination that my daughter, Rio, contemplates the big animals in the zoo that are thirsty and hungry.” Having roused the ire of Italian audiences with his “The Wings of God,” exhibition in Turin, Italy and the outright condemnation of pseudo-hippies in the Bay Area with his “Don’t Trust Me” show at the SF Art Institute (which was canceled before the scheduled end date), both of which featured similarly violent animal films, Abdessemed is boldly taking the fight for artistic expression to the front lines of the art world with the help of a gallery unintimidated by the current pervasive climate of fear and loathing. An impressive array of other conceptual works including “Music Box,” with a mechanism made from an oil drum, and “Prostitute,” a set of leather bound copies of the Bible, Torah, and Koran, each meticulously handwritten, page by page, by actual prostitutes rounds out the provocative show which, in these knee-knocking times, should be considered essential viewing for all. HAVE A LOOK: Read More
This weekend in NYC saw the return of one of the city's most elusive artists to the formal gallery scene when Supertouch's own PHIL FROST premiered his new solo show "Paperweight" at JONATHAN LEVINE GALLERY. Creating over 65 works on paper—the majority of which clocked in at a comfy and affordable 22" x 30"—the show was an explosion of color (and white out) from the so-called "street artist", who, despite gaining notoriety for first plying his trade on city walls, has strived to elude the misnomer in his professional career. A show of this kind has never before been mounted for Phil, whose imagery usually begins on canvases before spilling over onto all matter of physical ephemera, from baseball bats and footballs, to old mattresses, glass bottles, BMX bikes, and even suitcases, and proved to be an amazing spectacle in its well contained uniformity. Of course, Frost's fanbase was out in numbers to greet their art hero and art collector and onetime funnyman MIKE MEYERS even patiently waited his turn in line for a photo with Philly Phil followed by chants of "I'm not worthy, I'm not worthy," obviously not in reference to his performance in "The Love Guru." HAVE A LOOK: Read More
With the most inspirational name in the art world, AL MORAN's vanguard O.H.W.O.W. GALLERY is bringing serious heat to the Miami art scene. Celebrating the lengthy interconnectedness of the tropical city with sister metropolis NYC, their current exhibition, "Better History" takes a look at Manhattan’s storied art legacy, presenting the next generation of youngbloods alongside some legendary veterans in a wide array of media. Guest curated by New York’s NICK POE and the SEVEN ELEVEN GALLERY, the show’s exhaustive roster is a knockout, and includes Tim Barber, Sebastian Bear-McClard, Sebastian Black, Max Bode, Scott Campbell, Eneas Capalbo, Sarah Charlesworth, Francesco Clemente, Billy Copley, Patricia Cronin, Lance De Los Reyes, India Donaldson, Lena Dunham, Judith Hudson, Fab 5 Freddy, Francesco Galetto, India Donaldson, Alex Kalman, Maira Kalman, Tibor Kalman, Mel Kendrick, Victor Kerlow, Barney Kulock, Eva Lewitt, Judith Linhares, Troy Lumpkin, Alex Massouras, Michael McClard, Thomas McDonnell, Harry McNally, Casey Neistat, Van Neistat, Deniz Ozuygur, Peter Passuntino, Grear Patterson, Paolo Pelosini, Nick Poe, Nico Ponce De Leon Dios, Paula Poons, Steve Powers, Alex Rickard, Alexis Rockman, Theo Rosenblum, Ed Ruscha, Tom Sachs, Benny Safdie, Josh Safdie, Kenny Scharf, Laurie Simmons, Gordon Stevenson, Billly Sullivan, Jon Waite and Robert Waltzer. On view through April 11, the show should be considered required viewing for sunbathing art lovers in need of a downtown fix. HAVE A LOOK: Read More
In these dark days the kaleidoscopic psychedelia of the ERIK PARKER’s amorphous portraiture provides a much-needed dose of visual overstimulation. Working with an incredible sense of whimsy and dynamism, the German-born painter is truly free as he creates these incredibly bizarre semi-representational renderings of what seem to be melting characters from some bizarre futuristic space opera gone wrong. Bold in both color and composition, the works on display at his “Crisis Creation” show at PAUL KASMIN GALLERY in NYC are truly a reflection of the artist’s reeling imagination and disregard for convention. In the words of the NY TIMES' art scribe KEN JOHNSON:
"Working under the influence of acid rock posters, underground comics, Mad magazine, Ed (Big Daddy) Roth, Giuseppe Arcimboldo and Peter Saul, Mr. Parker has created a series of zany, neon-bright, imaginary portraits: goggle-eyed heads that are disintegrating into spaghetti-like strands and countless little blobs. Viewing them is like seeing into a mirror through the eyes of a furiously hallucinating drug fiend."
Consider it a must-see show. HAVE A LOOK: Read More
Shockingly, the 7-foot-wide black-and-white watercolor of Ponzi mastermind BERNIE MADOFF by Chinese artist YAN PEI-MING on display at the booth of heavyweight dealer DAVID ZWIRNER failed to find a buyer at its $100,000 asking price. Instead the piece actually seemed to repel viewers from his booth as if it possessed some kind of aesthetic negative polarity. Bloomberg news went so far as to actually refer to it as “creepy” in print. If the 70-year-old Madoff pleads guilty to 11 felony counts in court this Thursday as planned, it’s likely the judge will immediately revoke his $10 million bail and immediately enact a 150 year prison sentence, and this painting might be the last we ever see of ol’ BM again…
Another artist undeterred by the recent downturn in the art market at this year's annual ARMORY art fair was Supertouch homegirl CAMILLE ROSE GARCIA, whose solo "Ambien Somnambulants" show of new paintings and drawings was a major crowd pleaser at JONATHAN LEVINE's eponymous booth at SCOPE. While her goth girl aesthetic tendencies can sometimes be perceived as a downer, this year, her spooky cobwebs and Snow White-gone-wrong dreamscapes seemed impossibly cheery. HAVE A LOOK: Read More