At age 72, Mernet Larson is having her first solo show in new york right now. Her show Three Chapters is slated to be shown in three consecutive bodies of work– Heads and Bodies, Places, and Narratives. The first two have already come and gone, but if you’re in the NY area you should check out her Narratives chapter at the Johannes Vogt gallery before it gets taken down on the 27th . “These works navigate the divide between abstraction and representation with a form of geometric figuration that owes less to Cubo-Futurism than to de Chirico, architectural rendering and early Renaissance painting of the Sienese kind. They relish human connection and odd, stretched out, sometimes contradictory perspectival effects, often perpetuated by radical shifts in scale.” – New York Times (via)
If you’re trying to cut back on caffeine, try replacing it with Ali Smith‘s paintings; they are pure visual energy. “With their rough edges, fractured compositions and unpredictable scale-shifts, the L.A. artist paints energetic pictures whose wild swipes and slashes are not expressive — in any way, shape or form. Rather than standing in as authentic emblems of inner turmoil or heartfelt emotions, the whiplash gestures in Smith’s paintings take on lives of their own.” – Los Angeles Times
Peter Scherrer is a Washington (state) based artist and makes amazing paintings about the woods he grew up around. His newer work feels like a combination of fauvism and DeKooning, but his older stuff is 100% woods and it makes the woods feel like a whole other kind of jungle. If you find yourself in Seattle in the next two days, check out his work at the Cornish College where he is hanging until the 13th. “You have to love the paintings of Peter Scherrer. They’re perfectly serious, thick and virtuosic and painterly and dark, and funny at the same time.” – Jen Graves of The Stranger ( via )
Marcie Oakes is a young painter dwelling in the suburbs of Chicago. Her voluptuous, deeply layered abstractions often reference landscape but can often turn into something un-namable. These explosive images are penned using a wide variety of applications and painting techniques that build a surface that can only be truly appreciated in person. Jump.
I grew up in rural Indiana, but Justin B. Hansch’s exhibition GIRLS & GRILS gives me a sense of nostalgia for a beach-based coming of age story that I never lived. Hazy memories of lazy days and sexy babes drive the content of the show, and a similarly instinctual application of paint is the perfect pairing for this type of imagery. Tight edged graphic elements punctuate luscious gestural moments with a natural ease. It is clear that Hansch has a solid grasp of what a well-designed painting is capable of.
The exhibition is organized in a Pac-man-esque timeline of girl, grill, girl (and so on) – which allows the paintings to operate individually and collectively as one larger installation. As summer comes to a close GIRLS & GRILS functions as “the last word” from America’s most romanticized season, and a welcome reminder that days like those portrayed will be back again next year with the same casual expectations as years past. The show will be on view at Steve Turner Contemporary until October 6th, and I encourage you to make time for it during these busy opening weeks of the fall gallery season.
P.S. I’ve included a few examples of Hansch’s previous work to give you a more well rounded representation of his practice.
Let’s hop into the mind of Washington DC based artist, Emily Hoxworth. At the core of each of Emily’s pieces, as she states on her portfolio site, is an interest in biology, but specifically the idea that the core of our biological purpose is to reproduce our genetic material. This greater purpose, Emily explains, is a starting point for her explorations which largely take the form of alternative, narrative, worlds. The imagery is a bizarre mashup of mythology, nature, and medical illustrations. The result – a kind of psychedelic series of landscapes and scenes that are very much alien, yet somehow familiar – I like to speculate that these images are akin to the scenery we might experience upon birth. A kind of visual experience that is forgotten upon arrival. Check out more of Emily’s work after the jump.
Ryan Samuel Carr is a native artist/illustrator of Ventura, California. Ryan’s beautiful line work and dreamy figurative elements remain a constant reoccurring theme throughout his extensive body of work. When I look at Ryan’s work, even if the subject matter is just the roots in a pile of weeds he always seems to capture a rare and very sincere moment only hinting at whatever secrets the particular root, or bed of flowers have to say. Ryan’s unique line work evokes so much feeling and emotional manifestations. Ryan shares a bit of his mark making process in this direct quote from the talented young artist himself:
“I think a lot about the ‘immediacy’ of drawing (with ink and pencils), and the individual mark in a moment of time; what that all says…it’s very mystical and meditative for me.”
It’s obvious that Victoria Reynolds is a skilled artist, but I personally don’t really see why anyone would want one of her paintings in their home or collection. They are scary and seem to promote a kind of negative energy that only a butcher or serial killer could be attracted to. But then again maybe that’s what she’s going for – that niche market of rich collectors who also have rooms full of dead bodies and future victims. (via)