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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REPEAT/RECREATE: Clyfford Still’s “Replicas” at the Clyfford Still Museum, Denver

I’ll freely admit that I had a religious experience on viewing REPEAT/RECREATE: Clyfford Still’s “Replicas” at Denver’s Clyfford Still Museum. It’s unusual to get inside an artist’s head but every now and then an exhibition does just that, and this is one of those shows.

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Left: PH-1074, 1956-59 (1956-J-No.2) Right: PH-225, 1956 (1956-J-No.2)

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PH-225, 1956 (1956-J-No.2), Oil on canvas, 115″ x 104 3/4″

Collection of Modern Art Museum of Fort Worth, Museum purchase, The Benjamin J. Tillar Memorial Trust

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PH-1074, 1956-59 (1956-J-No.2), Oil on canvas, 117″ x 108″

Clyfford Still Museum

The Clyfford Still Museum is unique among world museums in that it houses the work of a single artist and it’s holdings comprise 94% of Still’s creative output including his archive of personal effects and correspondence. Still who said, “My painting is a life statement, not an autobiography,” was notoriously prickly about how his work was viewed and eschewed wall cards and any explanation of the work itself, preferring that the viewer find their way into the work on their own. REPEAT/RECREATE is a fascinating window into the artist’s thought process and how subtle shifts in scale, texture and color can influence one’s perception of what is, at first glance, a similar image.

What is unique about this exhibition, and what I found particularly moving,  is that it illustrates what many working artists experience in their creative practice; the constant investigation and questioning that takes place on a daily basis in the studio. Still made “replicas” of more than 50 works. These were not copies but in depth “re-explorations”. In some instances a similar composition was kept but the chromology was radically re-imagined. In most cases though there were more subtle changes; shifts in medium, shifts in application of paint, shifts in texture, shifts in the play of light across the paint surface through the manipulation of the reflective properties of the paint. All of these re-imaginings profoundly effect the viewer’s perception of the composition.

“Although the few replicas I make are usually close to or extensions of the original, each has its special and particular life and is not intended to be just a copy. The present work clarified certain factors and, paradoxically in this instance, was closer to my original concept than the first painitng, which bore the ambivalences of struggle.”

More information about the Clyfford Still Museum and it’s extraordinary collection can be found on their website.

Home

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PH-855, 1928-29, Oil on canvas, 34 1/4″ x 44 1/2″

Smithsonian American Art Museum, gift of International Business Machines Corporation

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PH-422, 1929, Oil on canvas, 23 1/2″ x 31″

Clyfford Still Museum

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PH-938, 1937/39 (?) (Study in Line; 1937-No 1), Oil on canvas, 51″ x 34″

Lent by Sara & Edward Germain in memory of Ashley & Alysse Weeks

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PH-553, 1937 (1937-No-2), Oil on canvas, 56 1/2″ x 36 1/2″

Clyfford Still Museum

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PH-938, 1937/39 (?) (Study in Line; 1937-No 1) Detail

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PH-553, 1937 (1937-No-2) Detail

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PL-21, 1943, Lithograph, 16 5/8″ x 12 1/2″

Clyfford Still Museum

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Left: PH-244, 1953 (1953-No.1), Oil on Canvas, 108 1/2″ x 91 1/2″

Right: PHX-27, undated, Oil on Canvas, 114 1/2″ x 104 1/2″

Clyfford Still Museum

What’s interesting about these two images, it’s difficult to see in the photographs, is the application of paint. In the painting on the left the paint is applied almost vertically from top to bottom and in the painting on the right the paint is applied in a sweeping pattern. From across the room the paintings feel similar, but when the viewer gets closer their emotional impact shifts because you become aware of the textural gesture of the paint and the energy of the paint surface.

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PH-244, 1953 (1953-No.1) Detail

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PHX-27, undated, Detail

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Left: PH-1111, 1952, Oil on Canvas, 91″ x 69 3/8″       Right: PP-135, 1956, Pastel on Paper, 13 3/4″ x 11″

PH-816, 1951 (1951-No.2/3?), Oil on canvas, 46 3/4″ x 38″

The Museum of Fine Arts, Houston, Bequest of Caroline Wiess Law

This is another interesting example of how the medium influences the “feeling” of the work. The painting on the left has an almost muscular paint surface, with thick grainy applications of paint, and the image on the right is a very soft pastel. The powdery surface completely changes the way the work feels. Same composition, same colors, but very different feeling as a viewer from these two works.

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Left: PH-89, 1949 (1949-A-No.1)   Right: PH-177, 1949 (1949-A-No.2)

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PH-89, 1949 (1949-A-No.1), Oil on canvas, 93″ x 79″, Private Collection

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PH-177, 1949 (1949-A-No.2), Oil on canvas, 80″ x 68 1/2″, Glenstone

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PH-89, 1949 (1949-A-No.1) Detail

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PH-177, 1949 (1949-A-No.2) Detail

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Left: PH-235, 1944 (1944-N-No.1) Right: PH-671 (1944-N-No.2;Red Flash on Black Field)

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PH-235, 1944 (1944-N-No.1), Oil on Canvas, 105″ x 92 1/2″

Clyfford Still Museum

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PH-671 (1944-N-No.2;Red Flash on Black Field), Oil on canvas, 104 1/4″ x 87 1/4″

The Museum of Modern Art, New York, The Sydney and Harriet Janis Collection, 1967

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Left: PH-813-(1951-T-No.2) Center: PH-814 (1951-T-No.3) Right: PH-812, 1951 (1951-T-No.1)

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PH-813-(1951-T-No.2), Oil on canvas, 93 1/4″ x 75 3/4″, Detroit Institute of Arts, Founders Society Purchase

W. Hawkins Ferry Fund

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PH-814 (1951-T-No.3), Oil on canvas, 94″ x 82″

The Museum of Modern Art, New York, Blanchette Hooker Rockerfeller Fund, 1954

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PH-812, 1951 (1951-T-No.1), Oil on canvas, 115″ x 104″

Clyfford Still Museum

What’s interesting about this image is that the painting is labeled No.1 but this is indeed the fourth “replica” of this painting. The first was destroyed by the artist. Versions 2 and 3 are in correct order.

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