The Standard and Paul Kasmin Gallery invite you to join them for a book signing with Kenny Scharf Monday May 13, 5-7pm, at the Standard Shop, 442 West 13th Street.
News
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May 7, 2013
Kenny Scharf book signing at the Standard Shop
Monday, May 13, 2013
March 12, 2013
Dalton-Somaré presents "After Alexander: Works of Art from Hellenized Asia" at Pace Primitive
Friday, March 15, 2013 - Saturday, March 23, 2013
During Asia Week New York, Dalton Somare Gallery, Milan, presents: After Alexander, Works of Art from Hellenized Asia at Pace Primitive, 32 East 57th Street, 7th floor, a thematic exhibition of Indo Greek, Greek Bactrian and Gandharan works of art from March 15 - 23, 2013. A public reception will be held Thursday, March 14, 6 - 8 p.m.
The art, which flourished after Alexander's death in 323 B.C.E. into the first centuries of the Christian era in greater Gandhara and Bactria, made real the dream of the Macedonian: link the west to the east.
This art was the voice of the spreading Buddhism and of its cosmopolitan vocation.
The 23 works of stone and stucco art from religious and secular contexts document the intersection and coexistence of Greek naturalism with Oriental symbolism and prove that art can be a common language between different cultures and people.
Especially remarkable is a spectacular gold crown with oak leaves and flowers from the Greek settlements in Bactria, circa 2nd century B.C.E. and a grey schist preaching Buddha, 2nd-3rd century C.E. sitting on a light blooming lotus.
Exhibition hours:
March 15 - 23, Monday through Saturday, 11 - 6
Opening Weekend, Saturday, March 16 - Sunday, March 17 10 - 6
Gallery Address:
Pace Primitive
32 East 57th Street, 7th floor
(between Madison and Park Avenues)
New York, NY 10022
January 31, 2013
Photo: Randy Harris for The New York Times
McDermott & McGough's new show “Suspicious of Rooms Without Music or Atmosphere,” in NY Times
They were the dandies of Avenue C, swanning about in cutaway suit coats, top hats and detachable starched collars. They made paintings the old-fashioned way, dressed in smocks and using rabbit skin glue primer and lead gesso on linen tacked, rather than stapled, to stretchers they found in the garbage. They backdated their work to the early 1900s, or before.
At a time when appropriation was one of the many art strategies of the moment, David McDermott and Peter McGough took that practice (among others) to its extreme. “Time maps,” they called their work, which tackled themes like sexuality, bigotry and the AIDS crisis.
November 14, 2012
Photo: Lucas Jackson/Reuters
Will Barnet, Visionary Artist, Dies at 101
Will Barnet, a printmaker and painter known for elegantly stylized portraits and classically composed visions of beautiful women and children, died on Tuesday at his home in Manhattan. He was 101.
His death was announced by Philippe Alexandre, whose gallery represented him. He had lived in the National Arts Club building on Gramercy Park since 1982.
In the prints and paintings that he produced from the mid-1960s on, Mr. Barnet ranged between a simplified form of realism and a poetic, visionary symbolism. A skilled draftsman, he created exactingly linear, subtly colored portraits of family members and friends. In the enigmatic pictures he began making in the 1970s, he conjured images of women in dark woods or on the porches of seaside houses who appear to be waiting for loved ones like 19th-century sailors’ wives.
November 12, 2012
Photo courtesy Marianne Boesky Gallery
Barnaby Furnas at Marianne Boesky
Tuesday, November 13, 2012 - Friday, December 21, 2012
Marianne Boesky Gallery is pleased to present an exhibition of new paintings and graphite drawings by Barnaby Furnas (b.1973, Philadelphia, PA). This will be the artist’s fifth solo exhibition with the gallery.
In this new series of paintings, loosely titled "If Wishes Were Fishes," Furnas again tackles epic historic and religious iconography, this time drawing from both the lore of Melville’s Moby Dick, as well as Jonah’s flight from God that lands him in the belly of the whale. On this Furnas says, “What interested me about whaling in the first place was that they (the whales) gave us light - their fat allowed us to bring God's light into the darkness of the night so we could see our fingers and maybe read after the sun went down."
In these new works, Furnas expands upon his diverse and deft cache of painterly techniques, sampling freely from the academic and modern in both subject matter and form. From a technique point of view, two trends emerge from this group of work: one; an emphasis on ground - using thin watercolor-esque applications of paint (staining) on to thickly combed grounds of gesso, and two; the use of hard, taped edges and the blending of wet paint on wet paint. Here, technique follows subject matter: the harsh, sharp, controlled approaches suggest dissection while the softer flowing images lean toward a sense of resolution.
The largest painting in the main gallery, measuring approximately 12 x 16 feet, captures the moment the whale is slain. The “fire in the whole,” an explosion of blood through the whale’s life-giving blow hole, emits a great plume of dark red blood as he is attacked by his pursuers. Flesh is stripped back to reveal the sky behind while birds flutter and hover in impossible quadrants of the picture. Using various painting slights, the foreground and background are confused, creating surface tensions that reverberate throughout the painting.
In dialogue with this monumental painting, a group of smaller portraits evoke the portioners and flensers, butchers in the act of physically and metaphysically deconstructing the whale. A group of graphite drawings, the first time the artist has used the medium, accompanies these paintings. Echoing the striated texture of the gesso under-painting, the graphite lines pulse along with the action in the drawing.
Finally, a group of paintings depict Jonah entombed in the body of the whale, then released upon seeing the wisdom of God, “His" figure and Jonah's own idealized reflection looming in the sky. In another image, a ghostly skull, spit up, hovers over Jonah’s apparitional figure. In a painterly reprieve, a sky brightens blue with Jonah having seen the light, going forth with God’s wisdom.
Barnaby Furnas has recently been featured in exhibitions in Buffalo, Albright-Knox Museum, 2011; Brussels, Vanhaerents Art Collection, 2011; Beijing, Ullens Center, 2010; Denver, Museum of Contemporary Art Denver, 2009; and Fort Worth, The Modern Art Museum of Fort Worth, 2007.
