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SUMMARY:‘Benny Andrews: For the Love of God’ at The Art Show 2021 (ADAA)
DESCRIPTION:“I tried to capture the enormous emotional release that was expressed in those services. This poor community of African-Americans\, oppressed through segregation and lacking many of the necessities needed for a decent life\, could find relief in only one place\, the church. …My hope is that this body of work transcends my particular experiences and speaks [to] a larger audience about the human condition…” —Benny Andrews \nMichael Rosenfeld Gallery is pleased to participate in the Art Dealers Association of America (ADAA) Art Show 2021 with the presentation Benny Andrews: For the Love of God\, a solo exhibition of collage paintings and ink drawings thematically united by the artist’s recursive engagement with subjects related to spirituality\, religion\, and community. Comprising works dating from 1966 to 2004\, the exhibition features a group of Andrews’ refined\, rarely seen ink drawings alongside a strong selection of his collage paintings on paper and canvas\, constituting a concise survey of the artist’s insightful reflections on religion’s complex role in American society. \nBenny Andrews (1930–2006) was born and raised in a rural farming community outside of Madison\, Georgia\, and exhibited a talent for artistic creation early in his childhood. As a young adult he served in the US Air Force\, which allowed him to attend the School of the Art Institute of Chicago (SAIC) on the GI Bill following an honorable discharge in 1954. Andrews developed his “rough collage” technique as a student at SAIC in the late 1950s; by adhering scraps of paper and found fabrics to his supports\, the artist sought to convey the “rawness” of his subjects and their material reality\, originating a novel painting process that captured the immediacy of everyday life. Shortly after graduating in 1958\, Andrews moved to Manhattan’s Lower East Side\, where he quickly became immersed in the neighborhood’s burgeoning avant-garde scene. Coming into artistic maturity in the decades when abstraction and minimalism were ascendent\, Andrews’ unwavering commitment to figuration was matched by his dedication to his subject matter\, namely the struggles\, joys and sorrows of historically marginalized people. This approach resulted in a prolific body of work that embodies a sprawling range of themes executed with Andrews’ singular blend of expressionistic formalism\, surrealist-inflected allegory\, and biting social commentary. Though he lived most of his adult life in New York\, Andrews always considered himself a product of the social and cultural environment of the South. Accordingly\, the religious community of his upbringing as well as religion’s sociopolitical status within the larger context of American culture comprise prevailing themes in his work. \nIn his acclaimed Revival series\, Andrews was inspired by memories of his childhood experiences as a member of Plainview Baptist Church. Seeking to convey the centrality of the church in Black American life in the rural South\, Andrews’ Revival works emphasize the social\, political and spiritual capacities through which the parish served the community. The artist’s portrayals of ministers and congregations at worship capture the fervor experienced by the devout through his figures’ exaggerated postures and ecstatic expressions\, effectively conveying the spiritual transcendence of his subjects over their material reality. While the Revival series constitutes Andrews’ most direct engagement with the subject\, meditations on the role of organized religion and spiritual enlightenment may be found in many of the series he completed\, including several works from his America Series. Executed between 1990 and 1991\, the series is grounded in Andrews’ conception of the US as a massive\, often unwieldy mosaic\, and portrays several archetypes for whom religion is a defining aspect of their identity or profession\, such as evangelists\, clergymen\, political opportunists\, and zealots. The integral function of the church in the Black community reemerged in two later series Andrews began in the final decade of his life. Works from his Langston Hughes series\, dedicated to the celebrated poet and social activist\, and his W.W. Law paintings—which likewise pay homage to an important civil rights leader\, Westley Wallace Law—emphasize the church as a primary site of organization for activists during the civil rights movement. Speaking to the broad spectrum of human emotion through the lens of religious community\, the works on view in For the Love of God testify to Andrews’ unique capacity to converge rich cultural tradition\, penetrating social commentary\, and spiritual awakening in a single image. \nA master of figuration dedicated to portraying the social realities he experienced throughout his life\, Andrews authored an expansive body of ink-on-paper drawings that form a visual and conceptual through-line within his oeuvre. The trajectory of Andrews’ line drawings traverses the length of his career\, with his unique figurative style and delicate technical process appearing fully formed in the early 1960s; extending to the last few works he completed before his death\, these drawings amount to a foundational group of compositions that both mirror and expound upon the concerns of his painting practice. Like many of his paintings\, Andrews’ line drawings dispense with dimensional modeling in favor of a strategically stripped-down draftsmanship\, suggesting volume in his figures through a careful balance of silhouette\, select identifying features\, and negative space. These works were executed through a process that was straightforward but required a great deal of skill: after sketching his composition in pencil\, Andrews used a crow-quill pen dipped in India ink to apply thin\, continuous lines atop the sketch before erasing any stray traces of graphite. The result is an incredibly clean\, minimalist drawing\, where the artist’s sensitive facture and expressive figuration shine through an adroit economy of form. The line drawings are as formally versatile as they were generative: some stand on their own as unique compositions; some exist as studies for larger painting projects; and others are designs Andrews used in his acclaimed body of lithographs\, etchings\, and Xerox prints. \nAndrews is represented in over fifty public collections including the Art Institute of Chicago (IL); Brooklyn Museum (NY); High Museum of Art (Atlanta\, GA); The Metropolitan Museum of Art (New York\, NY); Museum of Modern Art (New York\, NY); Philadelphia Museum of Art (PA); Smithsonian American Art Museum (Washington\, DC); The Studio Museum in Harlem (New York\, NY); and the Whitney Museum of American Art (New York\, NY). \nOn Sunday\, November 7\, from 12 to 3PM\, the Director of the Andrews-Humphrey Family Foundation\, Kyle Williams\, will be in our booth to speak about the artist’s life and work. \nMichael Rosenfeld Gallery LLC has represented the Benny Andrews Estate since 2009. \nMichael Rosenfeld Gallery has been a proud member of the Art Dealers Association of America (ADAA) since 2000. \n  \nThe Art Show 2021 (ADAA)\nThe Park Avenue Armory\nNovember 4–7\, 2021 \nBenefit Preview\nWednesday\, November 3 / 4–9:30PM \nPublic Days\nThursday\, November 4 / 12–8PM\nFriday\, November 5 / 12–8PM\nSaturday\, November 6 / 12–7PM\nSunday\, November 7 / 12–5PM \nVisit Michael Rosenfeld Gallery in Booth C2
URL:https://artinamericaguide.com/event/benny-andrews-for-the-love-of-god-at-the-art-show-2021-adaa/
LOCATION:ADAA-The Art Show\, Park Avenue Armory @ 67th Street\, New York\, NY\, NY\, 10065\, United States
CATEGORIES:Art Fair
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SUMMARY:P.P.O.W. Gallery at ADAA: The Art Show\, Booth C9
DESCRIPTION:P·P·O·W is pleased to present a one-person booth of new sculptures and works on paper by Ramiro Gomez. Born in 1986 in San Bernardino\, California to undocumented Mexican immigrants who have since become US citizens\, Gomez briefly attended the California Institute for the Arts before leaving to work as a live-in nanny with a West Hollywood family. Informed by his childhood and subsequent time working in the Hollywood Hills\, Gomez has since garnered critical acclaim for his work addressing issues of immigration and class division. \nIn his ongoing Magazine Series\, Gomez renders the “invisible” visible\, inserting representations of labor forces which build and maintain the pools\, gardens\, and mansions of America’s wealthiest classes onto the pages of glossy lifestyle magazines such as Galerie\, Town and Country\, Design within Reach\, and Architectural Digest. Introduced to these periodicals during his time as a nanny\, Gomez recalls\, “The magazines looked like the very environments I was working in and I started feeling an interesting reaction to them. It was looking at these environments minus all the people I was working with. It was an erasure of us. So it became very clear what to add. It was this simple act. It was just inspired by saying\, ‘I’m here. We exist.’” \nDeveloping this series further\, Gomez turns his eye toward not only representations of labor but representations of internal fantasies\, dreams\, and expressions of the self. Portraying his figures as talented and necessary\, Gomez unlocks powerful narrative possibilities that are usually suppressed in visual culture. Presented alongside life-size cardboard sculptures of people who construct and maintain an annual art fair\, this presentation exposes the ontology of eraser whichs pervades the commercial art world. Now that his own work can be found in prominent collections and upscale magazines\, Gomez has been compelled to acknowledge how he and his art are elevated by a capitalist system built on expunging the workforce that maintains it. \nRamiro Gomez (b. 1986) lives and works in West Hollywood\, CA. He has been the subject of solo exhibitions at the University of Michigan\, Institute for the Humanities and the West Hollywood Public Library\, as part of Pacific Standard Time: LA/LA. Gomez recently presented Here\, For a Moment at Charlie James Gallery\, Los Angeles\, his third solo exhibition with the gallery. His work has been included in group exhibitions at LACMA\, the Smithsonian National Portrait Gallery\, the Denver Art Museum\, the MFA Houston\, the Blanton Museum of Art\, and many other institutions. In 2016\, Gomez was the subject of Domestic Scenes – The Art of Ramiro Gomez\, a monograph by Lawrence Weschler\, published by Abrams. Gomez’s work has been featured or reviewed in the Los Angeles Times\, Artforum\, The Atlantic\, CNN\, National Public Radio\, CARLA\, The New York Times Sunday Magazine\, LA Weekly\, Harper’s Bazaar\, Hyperallergic\, and others. His work is in the collections of LACMA\, the Smithsonian American Art Museum\, the Museum of Fine Arts\, Houston\, the Denver Art Museum\, the MCA San Diego\, the Blanton Museum of Art\, the Crocker Art Museum\, the Nerman Museum\, and the Museum of Latin American Art\, among others.
URL:https://artinamericaguide.com/event/p-p-o-w-gallery-at-adaa-the-art-show-booth-c9/
LOCATION:ADAA-The Art Show\, Park Avenue Armory @ 67th Street\, New York\, NY\, NY\, 10065\, United States
CATEGORIES:Art Fair
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SUMMARY:Michael Rosenfeld Gallery at ADAA-The Art Show\, Booth D4
DESCRIPTION:Michael Rosenfeld Gallery is proud to present a solo exhibition for the work of William H. Johnson (1901-1970)\, offering a rare opportunity—outside of museum walls—to view a concentrated selection of paintings\, watercolors and pochoirs\, dating from c.1928-c.1943. Known for thickly surfaced modernist landscapes of scenes visited in Scandinavia\, France and North Africa and later\, stylized\, flat narratives often described as “modern primitivism”\, Johnson aimed in all of his work “to express in a natural way what I feel is in me both rhythmically and spiritually\, all that which in time has been saved up in my family of primitiveness and tradition and which is now concentrated in me.”
URL:https://artinamericaguide.com/event/michael-rosenfeld-gallery-at-adaa-the-art-show-booth-d4/
LOCATION:ADAA-The Art Show\, Park Avenue Armory @ 67th Street\, New York\, NY\, NY\, 10065\, United States
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