Construction Site at McKenzie Fine Art

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From Left: Eric Brown, Tilt, 2016 and Samantha Bittman Untitled 2016 and Untitled 2016

I always check out the shows at McKenzie Fine Art when I am in New York. I neglected to photograph some of the other great works in this show because I got distracted buying a small Lori Ellison drawing, so this post unfortunately omits the terrific work by Cathryn Arcomano, Mel Bernstine, Eric Brown, Kellyann Burns, Paul Corio, Liv Mette Larsen, Noah Loesberg, Erin O’Keefe, Laura Watt and Will Yackulic. My apologies to those artists. You can see installation views of the show and works from the above artists on the McKenzie Fine Art website.

http://www.mckenziefineart.com/exhib/CST2016exhb.html

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Samantha Bittman

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Samantha Bittman, Untitled 2016, Acrylic on hand woven textile, 20″ x 16″

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Don Voisine, Revolver, 2016, Oil on wood panel, 44″ x 44″

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Alton Sultan, Blue Squares, 2016, Hand dyed wool on linen, 10″ x 23.5″

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Christian Maychak, Compound Flat #46, 2015, Epoxy clay, pigment and wood, 45.5″ x 26.25″ x 1.5″

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Jason Karolak, Untitled (P-1608), 2016, Oil on linen over panel, 16″ x 14″

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Some Don Voisine’s and a Paul Corio in the back room.

JUSTINE HILL – They Just Behave Differently at Denny Gallery

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I really enjoyed Justine Hill’s show, They Just Behave Differently, at Denny Gallery in New York this past June. The show had a palpable energy and the pieces, mostly shaped canvasses, felt like visual thought bubbles; the painted expression of comic book style captions like “Pow”, “Bam” , “Zap and “@#*!” realized in paint.

For more information about Justine Hill please check out Denny Gallery’s website.

Justine Hill

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Quang Tri 1968 -1969 – 420 Days in a War by Wm. Marquez at Coachella Valley Art Center

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Quang Tri 1968 -1969 – 420 Days in a War by Wm. Marquez at Coachella Valley Art Center is the artist’s response to the 420 days he served  in a US military base in the north central region of Vietnam during the Vietnam War. The work, a meditation on the effect of war, poetically illustrates through the passage of time how war can change you. The piece illuminates the change inherent in experience beginning with a small mound of gravel, then marking each day served with small mounds of charcoal and ending with a mound that is a mixture of both.

For more information about the Coachella Valley Art Center please check out their Facebook page.

https://www.facebook.com/coachellavalleyartcenter/

 

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Electric Lady Land at REBEL art space

Electric Lady Land at REBEL art space in the Back Street Arts District in Palm Springs is a survey of 14 LA based female artists curated by Susan Carter Hall. The show is part of REBEL art space’s goal to introduce local art collectors to a wide range of new and established talent, and this curatorial cross pollination at REBEL is a growing trend locally to bring LA based artists to the Coachella valley to show their work. One of the first curators to do this was Mike McLain, an LA and Coachella based artist, who began a geographic creative cross pollination project at the Coachella Valley Art Center called LAnCV. But Electric Lady Land strikes its own path by focusing solely on female artists from the LA area.

For more information about REBEL art space please check out their website at

http://www.rebelps.com

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Dianna Cohen, rainbow us, Plastic bags and thread, 2010

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Dianna Cohen (detail))

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Suné Woods, In Flight(3), Mixed media collage, 2016

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Stephanie Vovas, Rachel in Los Angeles, Archival pigment print, 2015

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Tanya Batura, Monochrome J, Clay & acrylic, 2010

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Essi Zimm, I am the King of  the Cats, Mixed media collage and oil on panel board, 2016

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Essi Zimm (detail)

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Laurie Yehia, 18 AT BAY, Switch plates and oil paint on wood panel, 2016

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Maja Ruznic, The Forgiver Has Forgiven But Emotional Memory Lingers

Oil on Canvas, 2016

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Maja Ruznic, (detail)

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Susan Carter Hall, In Loving Memory, Oil on Canvas, 2015

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Susan Carter Hall (detail)

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Erin Morrison, Red Palm, Ink and wax on gypsum cement, 2016

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Erin Morrison (detail)

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Kim Kei, Was it You, Was it Me, Ink and oil on paper, 2015

Length x Width x Depth at Conrad Wilde Gallery

For the last eleven years Conrad Wilde Gallery in Tucson, Arizona has hosted an annual exhibition devoted to works created from encaustic. This years Encaustic Invitational, Length x Width x Depth was terrific. Miles Conrad always does a great job of finding artists with unique voices, telling unique visual stories and he chooses works that are often surprising and engagingly tactile. And this years Invitational was no exception.

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For more information about Conrad Wilde Gallery please consult their website at http://www.conradwildegallery.org

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Sue Stover, Musings, 6 Pieces, Titles Various, 2015

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Winston Lee Mascarenhas, Cardboard Study 8, Encaustic on Cardboard, 10″ x 10″ x 3″, 2014

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Kathleen Cosgrove, Spiral with Antlers, Encaustic, Mixed Media, 9″ x 4″ x 4″,  2015

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Katie Gutierrez, Heliopora 1, Encaustic Sculpture, 19″ x 7″ x 20″, 2016

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Katie Gutierrez, Heliopora 3

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Alison Golder, Best Cocao, Wood, Metal & Encaustic, 15″ x 9″ x 5″, 2014

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Sue Katz, Moth Construct, Encaustic, Mixed Media, 35.5″ x 26″ x 3″, 2016

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Alison Golder, Processed and Pasteurized, Wood, Metal & Encaustic, 13″ x 5″ x 3″, 2014

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Alicia Forestall Boehm, The Power of Place , Encaustic, Fiber, Wire & Twine, 14″ x 9″ x 2″, 2014

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From Left to Right: Alicia Forestall Boehm, Jane Allen Nodine & Deborah Kapoor

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Jane Allen Nodine (Detail), Collected Oscula, Ablated Offerings & Selected Offerings,  Encaustic on Paper & Encaustic and Fiber, Works: 50″ x 4″ x 1″, 54″ x 4″ x 3″  , 48″ x 2″ x 2″, 2015

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Deborah Kapoor, Grief Diary, Paper, Cording, Encaustic & Fabric, 12″ x 12″ x 1″, 2015

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Beata Wehr, Letters From The Desert, Encaustic, Paper & Found Objects, 13″ x 17″, 2014

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Dietlind Vander Schaaf & Jennie Frederick

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Dietlind Vander Schaaf, Between, Encaustic, Oil and Graphite on Panel, 12″ x 12″ x 2″, 2016

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Jennie Frederick, Beached, Kozo Fiber, Encaustic & Zip Ties, 48″ x 11″ x 8″, 2014

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Deborah Winiarski and Milisa Galazzi

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Milisa Galazzi, String Theory – WD Four, Paper, Thread & Encaustic, 48″ x 24″ x 9″, 2015

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Deborah Winiarski, Lines Written III, Encaustic and Fiber on Panel, 37″ x 32″ 4″, 2015

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Kay Hartung, Orbs 1 – 6, Encaustic Mixed Media, Dimensions Variable, 2013 – 2015

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Kay Hartung, Orbs (Detail)

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Helen Dannelly, Untitled, Encaustic on Paper, 6″ x 6″ x 8″, 2013

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Laura Moriarty, Cleaved, Pigmented Beeswax, 24″ x 8″ x 4″, 2014

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Howard Hersh, Pulse, Encaustic on Panel, 21″ x 13″ x 3″, 2012

Barbara Ellmann: An Open Book 2 at the Marks Art Center

I had the great pleasure of seeing Barbara Ellmann’s dynamic exhibition, An Open Book 2, at the Walter N. Marks Center for the Arts in Palm Desert, California last month. The exhibition, which ran from February 4 to March 11, was partially funded by the McCallum Theatre Institute’s Aesthetic Education Program, produced in conjunction with the Marks Art Center at the College of the Desert and was beautifully curated by Sophia Marisa Lucas. The Marks always presents terrifically exciting, innovative shows and I am continually impressed by the quality of their curatorial focus. An Open Book 2 was no exception.

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For more information about the Marks Art Center and Barbara Ellmann:

http://www.collegeofthedesert.edu/community/gallery/Pages/default.aspx

https://barbaraellmann.com

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Donald Martiny: Gestures at Madison Gallery

In a world that is more and more removed and isolated, where finding contact and gesture and movement, both abstract and emotional, is increasingly difficult, Donald Martiny’s expressively lyrical solo, Gestures, at Madison Gallery in La Jolla, California is refreshingly immediate.

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Alanic, 2014, Polymer and dispersed pigment on aluminum, 55 x 44 inches

One is instantly struck by the work’s visceral movement and vibrant color. But it would be too easy to reduce these forms to simply a discussion of color and flow. These enlarged brushlike strokes, formed from polymer and saturated pigment, are visual poems. They are the painterly equivalent of a verbal haiku, deceptively lean, but on reflection as complex and inevitable as breath. The simplified structure allows the viewer to look deeper. The swaths of undulating paint, dotted with glimpses of hidden color and seemingly random trace gesture, draw us closer, enticing us with their history. And the sensual , almost liquid quality of the forms woos us, like the touch of someones hand on bare skin, light but electric, the movement fleeting but the sensation enduring. The touch simple in form but resonant in understanding. That sensation is rare in this world of detachment. But as these paintings attest, and as has been said many times, “the simplest gesture is the most profound.” It is indeed.

http://www.donaldmartiny.com

http://www.madisongalleries.com

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Left: Togoyo, 2014, Polymer and dispersed pigment on aluminum, 68 x 43 inches

Right: Kore, 2015, Polymer and dispersed pigment on aluminum, 59 x 44 inches

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Togoyo, 2014, Polymer and dispersed pigment on aluminum, 68 x 43 inches

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Kore, 2015, Polymer and dispersed pigment on aluminum, 59 x 44 inches

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From left: Kott, 2015, Polymer and dispersed pigment on aluminum, 88 x 5 inches

Ofo, 2015, Polymer and dispersed pigment on aluminum. 77 x 3 inches

Weyto, 2014 Polymer and dispersed pigment on aluminum. 91 x 46 inches

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Weyto, 2014 Polymer and dispersed pigment on aluminum. 91 x 46 inches

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Ngbee, 2015, Polymer and dispersed pigment on aluminum. 44 x 90 inches

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Laua, 2015, Polymer and dispersed pigment on aluminum, 76 x 77 inches

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