• The Best of Gallery Walk in Chelsea (May 2015)

    David Salle: New Paintings at Skarstedt Gallery
    David Salle: New Paintings at Skarstedt Gallery
    David Salle: New Paintings at Skarstedt Gallery
    David Salle: New Paintings at Skarstedt Gallery
    David Salle: New Paintings at Skarstedt Gallery
    David Salle: New Paintings at Skarstedt Gallery
    David Salle: New Paintings at Skarstedt Gallery
    David Salle: New Paintings at Skarstedt Gallery

    David Salle’s new paintings are characterized by both immediacy and complexity; their vibrant color and highly energized, dynamic compositions display a marked evolution from his most recent exhibition, Ghost Paintings, shown at Skarstedt’s Upper East Side gallery in 2013. Salle’s Late Product Paintings can be seen as both revisiting and providing an extension to his 1993 series, Early Product Paintings, in which flatly painted backgrounds of collaged product advertisements were the stage upon which present-tense painting operations were carried out.

    Writing via Press Release.

    David Salle: New Paintings
    April 30 – June 27, 2015

    Skarstedt, Chelsea
    550 West 21st Street
    New York, NY 10011

    Beth Lipman: Alone and the Wilderness at Claire Oliver Gallery
    Beth Lipman: Alone and the Wilderness at Claire Oliver Gallery
    Beth Lipman: Alone and the Wilderness at Claire Oliver Gallery
    Beth Lipman: Alone and the Wilderness at Claire Oliver Gallery
    Beth Lipman: Alone and the Wilderness at Claire Oliver Gallery
    Beth Lipman: Alone and the Wilderness at Claire Oliver Gallery

    It is a Sisyphean effort to cajole perfection from our tumultuous and imperfect world. Ever cognizant of this Lipman creates visual metaphors that represent both humanity’s abundant success and its potential, or inevitable decline. In an instant the Artist is a stand-in for Man and the environment. Lipman’s process of sculpting and blowing records her ability to control the material as the work begins to form. As in Life, the Artist reminds us to embrace what we may at first see as imperfections – every detail has a role to play in the composition.

    Writing via press release

    Beth Lipman Alone and the Wilderness

    Exhibition Dates: April 30 – June 13, 2015

    Claire Oliver Gallery
    513 West 26th Street
    New York, NY 10001

    Brent Wadden at Mitchell-Innes & Nash
    Brent Wadden at Mitchell-Innes & Nash
    Brent Wadden at Mitchell-Innes & Nash
    Brent Wadden at Mitchell-Innes & Nash

    Known for his woven paintings—made of handwoven fibers, wool, cotton, and acrylic on canvas—Wadden’s work often disrupts traditional divisions between folk art and fine art. His abstract works complicate the painterly notion of surface, while reconsidering the concept of the handmade. In a labor-intensive process, Wadden works on a floor loom, weaving yarn and wool into geometric, abstract designs. He then stitches together these woven panels mounts the finished work on raw canvas to create visually jagged, geometric constructions.

    Conscious of the tone, density, and tension of his materials and practice, the artist’s focus on form seeks to reinterpret traditional gender roles in art-making and craftsmanship. Wadden’s paintings reference both a structural life and planar presence, which further seek to rework ideas of space and mark-making.

    Writing via press release

    Brent Wadden

    April 23 – May 30, 2015

    Mitchell-Innes & Nash

    534 west 26th street

    Agustin Sirai: Limit at Praxis Gallery
    Agustin Sirai: Limit at Praxis Gallery
    Agustin Sirai: Limit at Praxis Gallery
    Agustin Sirai: Limit at Praxis Gallery
    Agustin Sirai: Limit at Praxis Gallery
    Agustin Sirai: Limit at Praxis Gallery

    “My first approach to art or to images was completely informal,” recalls Sirai, who grew up sketching in the margins of notebooks but did not visit a museum until he was 18, when he began a university degree in visual arts in his home city of La Plata, Argentina. While what started as a hobby has since become a career, Sirai’s artistic interests have remained constant over the years. (In fact, he says he’s suspicious of anyone who claims their own interests have truly changed.) He is compelled by the nature of painting, representation, time, borders, and limits—all of which play a role in the varied works he has created specifically for this exhibition—as well as in new “mechanical objects” he’ll resume work on when he returns home.

    Writing via press release

    Agustin Sirai: Limit

    April 30 – June 27, 2015

    PRAXIS NEW YORK
    541 West 25th Street

    Kazuo & Fujiko Shiraga at Fergus Mc Caffrey Gallery
    Kazuo & Fujiko Shiraga at Fergus Mc Caffrey Gallery
    Kazuo & Fujiko Shiraga at Fergus Mc Caffrey Gallery
    Kazuo & Fujiko Shiraga at Fergus Mc Caffrey Gallery
    Kazuo & Fujiko Shiraga at Fergus Mc Caffrey Gallery
    Kazuo & Fujiko Shiraga at Fergus Mc Caffrey Gallery

    Before joining Gutai, Kazuo had already demonstrated great innovation by creating his first body painting in 1953 and foot-paintings in 1954. Gutai brought him closer to the influence of Jiro Yoshihara who famously challenged his students to “create what has never been done before.” Kazuo responded by making revolutionary performative works and large-scale “foot-paintings” of extraordinary aesthetic power, which he created while swinging from a rope. Kazuo’s signature style and unique method remained a constant for the rest of his six-decade long career.

    Fujiko’s reaction to Yoshihara’s decree was equally radical. In 1955 she began making large and fragile collages of torn and layered paper that explored transparency and opacity. Furthering her exploration of simple materials and direct, physical action, Fujiko created a concrete sculpture incised with deep horizontal lines, and White Plank, a 13 foot long angled plank of wood bisected by a long snaking cut. Over time she began creating paintings on canvas composed of wax, broken glass, torn paper and pigment. In 1961, she put aside her own art making to support Kazuo’s studio practice – preparing oil paints and advising on the colors – a role she maintained for the remainder of Kazuo’s career.

    After Kazuo’s death, several forgotten works by Fujiko were discovered in his studio. Created between 1955 and 1961, these works are a revelation and shed light on an innovative artist deserving of wider study and recognition. Fifteen of Fujiko’s works will be exhibited at Fergus McCaffrey adjacent to a selection of masterworks by Kazuo drawn from the Estate of Kazuo Shiraga. The exhibition will be accompanied by an in-depth publication exploring both artists’ work.

    Writing via press release

    Kazuo & Fujiko Shiraga

    April 30 – June 20, 2015

    Fergus Mc Caffrey Gallery

    514 West 26th Street

    New York, NY 10001

    Wendell Castle: Gathering at Friedman Benda Gallery
    Wendell Castle: Gathering at Friedman Benda Gallery
    Wendell Castle: Gathering at Friedman Benda Gallery
    Wendell Castle: Gathering at Friedman Benda Gallery
    Wendell Castle: Gathering at Friedman Benda Gallery
    Wendell Castle: Gathering at Friedman Benda Gallery

    2015 will be an exciting and notable year for American design icon Wendell Castle, now in his 6th decade of working.  A long record of acclaim, scholarship, and steady acquisition by public institutions gives Wendell Castle’s work indelible historic importance.  His groundbreaking unification of sculpture and furniture has inspired and influenced generations of artists and designers and contributed to the acceptance of design as an art form in its own right.  At every stage, Castle has endeavored to incorporate innovations in materials and design, while deepening and, at times, reinventing his own sculpture vocabulary with his signature technique of stack lamination.

    Wendell Castle, 82, will be the focus of three major events this year: the publication of his highly anticipated catalogue raisonné, a meticulous and comprehensive documentation of an epic career covering the years 1958-2012; a major exhibition at the Museum of Arts and Design, New York; and his second solo exhibition of bold new works at Friedman Benda in Chelsea.

    Wendell Castle: Gahering Momentum
    April 1 – May 30, 2015
    515 West 26th Street
    New York, NY 10001
    Andrew Lord at Gladstone Gallery
    Andrew Lord at Gladstone Gallery
    Andrew Lord at Gladstone Gallery 2
    Andrew Lord at Gladstone Gallery 2
    Andrew Lord at Gladstone Gallery 2
    Andrew Lord at Gladstone Gallery
    Andrew Lord at Gladstone Gallery 2
    Andrew Lord at Gladstone Gallery

    Gladstone Gallery is pleased to announce at sunset, with snow falling, by starlight, an exhibition of sculptures by British artist Andrew Lord. The exhibition features three large-scale assemblages composed of cups, bowls, pots, and urns after Gauguin’s ceramics and drawings. At sunset is the last piece the artist built in his New York studio where he worked for 23 years. Lord transported the unfinished work to New Mexico and painted the surface at sunset, arriving at a luminous glaze evocative of the dramatic light of Carson mesa. The artist approached this process intent to consider how the ideas he formed in the early 1970s have transformed over time–ideas about Impressionism, Cubism, gesture, the body, light, shade, and memory.

    Lord reinterprets Gauguin’s forms as vessels for exploring the light on the Carson mesa plain in New Mexico; the titling of Lord’s three pieces invokes both Gauguin and the site of production, bringing forth sources of both material and poetic inspiration. The artist’s recasting of Gauguin’s forms magnifies the scale of the original figures and provides fertile ground for interpreting the natural landscape.

    In an artist statement Lord describes the trajectory of his art making and relationship to Gauguin’s forms as follows: In the ceramics I made from the 1970s onwards, painting objects at different times of the day, observing them in different types of light or no light at all, I was trying to grasp a narrative I’d seen in Gauguin’s ceramics. By placing objects together, assembling single works into groups of thirty or more, I wanted to present an idea as big as a painting, a view of the world as big as Monet’s Soleil couchant.

    Andrew Lord: At Sunset, with snow falling, by starlight

    May 1- May 30th, 2015

    Gladstone Gallery

    530 west 21st street

    New York, NY 10011

    Writing via press release

    Photography by Jamie Martinez

    Jamie Martinez

    Jamie Martinez

    Jamie Martinez is the founder and publisher of ARTE FUSE contemporary art platform. His process involves constructing, deconstructing and fragmenting images, data, and information geometrically into triangulated segments and is also the founder/director of The Border Project Space in Brooklyn. Jamie studied at the International Fine Arts College, Fashion Institute of Technology and the Art Students League. Follow him @triangulism (instagram and twitter)

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