Summer Solstice, Juneteeth, Pause

"Earnest", 1977

Gulf Coast State Fair, Mobile, Alabama

Earnest proudly resting after he completed installing the tents for the

 fair attendees and exhibitors.

FRANK STELLA

RECENT WORK

The sculptures explode out of the galleries. They seem to have the energy that could push the walls apart...In some works, like Atalanta and Hippomenes (2017), the rigid structure of the grid is broken by the application of large, billowing white forms that seem to weave and expand across the vertical and horizontal planes. Inspired by the ethereal quality of smoke rings—which have long captivated Stella— the abstract form appears weightless despite its grand scale.

This sensation is further accentuated by the way the grid is affixed to the wall, giving it a contrasting feel of solidity. In others, such as Leeuwarden II (2017), the fiberglass grid is suspended within a metal frame, with brightly-colored, almost neon, ribbons dramatically swooping in and out of it, imbuing the work with a vivid sense of motion. The juxtaposition of materials, from colored fiberglass to bare steel to PU-foam, adds further texture and depth to the sculptures and contributes to the shifting experience of the work as one changes position and perspective.

 Frank Stella: Recent Work will be on view from April 25 through June 22 across both of the Marianne Boesky Gallery’s Chelsea locations at 509 and 507 W. 24th Street.

She Belongs to Me

Bob Dylan

 

 

 

She's got everything she needs, she's an artist
She don't look back
She's got everything she needs, she's an artist
She don't look back
She can take the dark out of the nighttime
And paint the daytime black

You will start out standing
Proud to steal her anything she sees
You will start out standing
Proud to steal her anything she sees
But you'll wind up peeking through her keyhole
Down upon your knees

She never stumbles, she's got no place to fall
She never stumbles, she's got no place to fall
She's nobody's child, the Law can't touch her at all

She wears an Egyptian ring that sparkles before she speaks
She wears an Egyptian ring that sparkles before she speaks
She's a hypnotist collector, you are a walking antique.

Bow down to her on Sunday
Salute her when her birthday comes
Bow down to her on Sunday
Salute her when her birthday comes
For Halloween give her a trumpet
And for Christmas, buy her a drum

 

Carl Andre, Twenty-Eight Red Brick Line, 1968,
28 bricks in a row,
3 1/8 x 7 3/4 x 2 1/4 in. (7.9 x 19.7 x 5.7 cm);
overall: 3 1/8 x 223 1/4 x 2 1/4 in. (7.9 x 567.1 x 5.7 cm).

50 Years: An Anniversary

A Benefit Exhibition for March For Our Lives

October 10 – November 3, 2018
524 W 26th Street 

Thank you Paula Cooper for your presence and enormous contributions to art history. 

This extraordinary show, “50 Years: An Anniversary” celebrates the October 1968 opening of the Paula Cooper Gallery, the first art gallery in SoHo at 96-100 Prince Street. This fiftieth anniversary show in 2018 includes artworks from that time period by the original artists: Carl Andre, Jo Baer, Robert Barry, Bill Bollinger, Dan Flavin, Robert Huot, Will Insley, Donald Judd, Sol LeWitt, Robert Mangold, Robert Murray, Doug Ohlson, and Robert Ryman.

On view at 524 West 26th Street, is Carl Andre’s original 1968 work, composed of twenty-eight found bricks laid end-to-end directly on the floor, which challenged traditional conceptions of material, labor and value.

Odyssey: Jack Whitten Sculpture, 1963–2017

At The Met Breuer
September 6–December 2, 2018

Technological Totem Pole

Jack Whitten

(American, Bessemer, Alabama 1939–2018)

Date: 2013
Medium: Black mulberry, metal, Gortynis marble,
Braun alarm clock, mixed media.

I too was raised in Alabama in the 60's. Mobile is on the Gulf Coast and south of Bessemer, and had its activism that was very grassroots.

Jack and I were friendly in the naissance of the SoHo art community. The late 1960's and early 1970's energy of creative exploration is evident in this body of Jack's work. I am ever so grateful to the Met for mounting such an intelligent and well curated show.

This exhibition presents the extraordinary and previously unknown sculptures of acclaimed American artist Jack Whitten (1939–2018). Whitten's sculptures, which he first created in New York and later at his summer home on Crete, consist of carved wood, often in combination with found materials sourced from his local environment, including bone, marble, paper, glass, nails, and fishing line. Inspired by art-historical sources rooted in Africa, the ancient Mediterranean, and the Southern United States, Whitten's sculptures not only address the themes of place, memory, family, and migration, they also give expression to a transnational, cosmopolitan perspective. 

Heavenly Bodies: Fashion and the Catholic Imagination

At The Met Fifth Avenue and The Met Cloisters
May 10–October 8, 201

In this magnificent installation we see the influence of religious art on innovative fashions. This Met exhibition is extravagant and heavenly!!

The Costume Institute's spring 2018 exhibition—at The Met Fifth Avenue and The Met Cloisters—features a dialogue between fashion and medieval art from The Met collection to examine fashion's ongoing engagement with the devotional practices and traditions of Catholicism.

The visual reference of the exhibition, papal robes and accessories from the Sistine Chapel sacristy, many of which have never been seen outside The Vatican, are on view in the Anna Wintour Costume Center. Fashions from the early twentieth century to the present are shown in the Byzantine and medieval galleries, part of the Robert Lehman Wing, and at The Met Cloisters.

For more on this extravagant spectacle click on Met Museum.

Georgia O'Keefe in Brooklyn

Georgia O’Keeffe: Living Modern

The exhibition at the Brooklyn Museum through July 23, 2017  is organized in sections that run from her early years, when O’Keeffe crafted a signature style of dress that dispensed with ornamentation; to her years in New York, in the 1920s and 1930s, when a black-and-white palette dominated much of her art and dress; and to her later years in New Mexico, where her art and clothing changed in response to the surrounding colors of the Southwestern landscape.

The final section explores the enormous role photography played in the artist’s reinvention of herself in the Southwest, when a younger generation of photographers visited her, solidifying her status as a pioneer of modernism and as a contemporary style icon.

It was an intimate visit with Georgia OK - I felt as if I was going thru her closets and shopping with Georgia at Marimekko.

Georgia O’Keeffe: Living Modern is part of A Year of Yes: Reimagining Feminism at the Brooklyn Museum, a yearlong series of exhibitions celebrating the 10th anniversary of the Elizabeth A. Sackler Center for Feminist Art.