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DTSTART;VALUE=DATE:20200615
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SUMMARY:Bill Scott: A Prolonged Moment
DESCRIPTION:Bill Scott: A Prolonged Moment to Open as a Digital Presentation at Hollis Taggart on June 15\, 2020\nExhibition to Feature New Oil and Watercolor Paintings\nAnd is Accompanied by a Catalogue with Writings by the Artist \n\nImage:\nBill Scott\nA Prolonged Moment\, 2019\nOil on canvas\n39 1/2 x 55 inches \n\nHollis Taggart is pleased to present Bill Scott: A Prolonged Moment\, the artist’s eighth solo exhibition with the gallery. The presentation features a selection of new abstract oil paintings that capture the exuberant energy and brilliant color for which Scott’s work is recognized\, as well as a selection of small-scale watercolors\, which mark the artist’s first return to the medium in several decades. Opening online on June 15\, 2020\, the exhibition is accompanied by an illustrated catalogue that includes the artist’s writings on his inspirations\, process\, and commitment to painting\, as an incisive and poignant genre. While Hollis Taggart remains closed to the public\, Scott’s work will be installed at its W. 26th Street flagship location and be available for in-person viewing by appointment through the end of July. \nScott’s abstract compositions are often inspired by nature\, whether plants in his studio\, views from his windows\, or scenes encountered on walks throughout his hometown of Philadelphia and beyond. These representational elements are then filtered through the artist’s imaginings of idealized places and emerge on the canvas as vivid bursts of color\, geometric forms\, and spontaneous gestural lines. Scott’s engagement with nature began at an early age\, when he would envision fantastical places to which he could escape. Through the years\, notions of paradises that offer comfort and respite have continued to drive Scott’s work. This is particularly felt in paintings like The Imaginary World (2019)\, which suggest a rich and dense tangle of plantings and exude a sense of being enveloped in a warm embrace into which one can disappear. \nMusic and poetry are also important to Scott’s process and practice. This is particularly visible in the way that Scott builds texture\, depth\, and density on the surface of his canvases\, in instances thickly layering his oil paint\, in others scraping it away\, and yet still in others applying a very thin\, almost transparent paint. The end result is a composition that roils with life and motion. Of the influence of music\, Scott says\, “I aim to have the painting reveal itself slowly and\, as it unfolds\, for one to be able to intuit how it was made. Unlike a song\, a painting does not have a beginning and an ending. Yet a painting\, like a song\, can linger\, unfold\, and reverberate long afterward in one’s memory.” \nWhile Scott is most readily recognized for his oil paintings\, which have been his primary focus over the last several decades\, he had a moment of deep engagement with watercolor early in his career. In 1989\, he spent several weeks with artist Joan Mitchell at her home in Vétheuil\, France\, delving into his approach to and the possibilities offered by watercolors. Upon his return to the United States\, however\, he abandoned the medium\, returning to it only by happenstance in the summer of 2019. The upcoming presentation at Hollis Taggart marks the first presentation of these new works\, which are characterized by a brilliant luminosity and add another interesting layer to Scott’s practice. \n“Over the many years that we have worked with Bill\, we have always been impressed by his incredible originality\, masterful handling of color\, and the compositional balance he brings to his paintings. This newest body of work encapsulates yet again his creative spirit and the joyful nature that has always pervaded his work\,” said Hollis Taggart. “We are particularly delighted to present his recent watercolors\, which further reflect the complexity and richness of his practice.”\nThe gallery’s exhibition will be followed by a solo presentation of the artist’s work at the Lauren Rogers Museum of Art in Laurel\, Mississippi\, opening on August 4\, 2020. Titled Bill Scott: A Garden in the Studio\, the exhibition will included works produced between 2003 and 2019 and demonstrate Scott’s status as one of America’s foremost colorists. \n— \nScott has exhibited widely over the past three decades at museums that include Swarthmore College\, Hollins University\, the State Museum of Pennsylvania\, the National Academy Museum\, and the University of Delaware. Major public collections with Scott’s work include Cleveland Museum of Art\, Delaware Art Museum\, the Philadelphia Museum of Art\, the Munson-Williams-Proctor Institute Museum of Art\, and Woodmere Art Museum. In 2006\, he was awarded a Distinguished Alumni award from the Pennsylvania Academy. \n\nAbout Hollis Taggart\nFounded in 1979\, Hollis Taggart presents significant works of American art\, showcasing the trajectory of American art movements from the Hudson River School to American Modernism and the Post-War and Contemporary eras. Its program is characterized by a deep commitment to scholarship and bringing to the fore the work of under-recognized artists. The gallery has sponsored several catalogue raisonné projects\, most recently for the American Surrealist artist Kay Sage\, and has been instrumental in advancing knowledge of such compelling artists as Alfred Maurer\, Arthur B. Carles\, and more recently\, Theodoros Stamos\, Marjorie Strider and Michael (Corinne) West. In the summer of 2019\, the gallery announced the formal expansion of its primary market business and focus on the presentation of contemporary work\, operating under Hollis Taggart Contemporary. The gallery’s flagship space is located on W. 26th Street and its contemporary division is based at secondary location on W. 25th Street. The gallery also has a private viewing and storage facility in the neighborhood. With 40 years of experience\, Hollis Taggart is widely recognized by collectors and curators for its leadership\, expertise\, and openness\, on matters of art history\, and market trends and opportunities.
URL:https://artinamericaguide.com/event/bill-scott-a-prolonged-moment/
LOCATION:Hollis Taggart\, 521 West 26th Street\, 1st Floor\,\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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DTSTART;VALUE=DATE:20200506
DTEND;VALUE=DATE:20200524
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SUMMARY:Viewing Room | Michael West: We Come Alive and Dream
DESCRIPTION:Image:\nMichael West in her summer rental\, Stonington\, Connecticut\, 1955. Collection of The Michael (Corinne) West Estate Archives. \n\nHollis Taggart is pleased to present Michael West: We Come Alive and Dream\, an online viewing room opening on May 6\, 2020.
URL:https://artinamericaguide.com/event/viewing-room-michael-west-we-come-alive-and-dream/
LOCATION:Hollis Taggart\, 521 West 26th Street\, 1st Floor\,\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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DTSTART;VALUE=DATE:20200323
DTEND;VALUE=DATE:20200419
DTSTAMP:20260613T132052
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SUMMARY:Virtual Exhibition | Alan Wolfson: Brooklyn Elevated and Highlights from our New Acquisitions
DESCRIPTION:On March 23\, Hollis Taggart launched Alan Wolfson: Brooklyn Elevated and Highlights from our New Acquisitions\, a digital exhibition that will be available in the gallery’s website and onsite at 521 W. 26th Street by appointment only. \nThe presentation includes a selection of artist Alan Wolfson’s detailed miniature constructions of scenes from the New York City of the 1970s and 1980s\, including a new commission completed in 2020 that marks the artist’s most intricate work to-date. Wolfson’s works vividly capture his memories of the city\, mixing real-life scenes with his own imaginings of the place where he grew up. The exhibition will also feature works recently added to the gallery’s collection\, including paintings by Karen Appel\, Norman Bluhm\, Gene Davis\, Hans Hofmann\, Jacob Kainen\, Kenzo Okada\, and Michael (Corinne) West\, among others. \n\nImage HTG14460:\nAlan Wolfson\nBrooklyn Elevated [detail]\, 2017-2019\nMixed media\n21 (H) x 32 1/2 (W) x 24 (D) inches
URL:https://artinamericaguide.com/event/alan-wolfson-brooklyn-elevated/
LOCATION:Hollis Taggart\, 521 West 26th Street\, 1st Floor\,\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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DTSTART;VALUE=DATE:20200316
DTEND;VALUE=DATE:20200331
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SUMMARY:Online Viewing Room: William Scharf: Elemental Color\, Works from the 50s and 60s
DESCRIPTION:Online Viewing Room\nWilliam Scharf: Elemental Color\, Works from the 50s and 60s\nMarch 16 – 30\, 2020 \nThis exhibition brings together work by New York School painter William Scharf\, focusing on a formative period for the artist between 1953 and 1969\, during which he developed a friendship with Mark Rothko. Scharf first met Rothko in 1953 and in the 1960s assisted Rothko with his renowned commission for the De Menil Chapel in Houston. They remained close until Rothko’s death in 1970. Both artists shared an interest in the expressive\, emotive and symbolic properties of color as well as a fascination with mythology\, philosophy\, and the concept of the primordial. \nComing of age in the heyday of New York’s Surrealist and Abstract-Expressionist movements\, Scharf’s style developed into something immediately recognizable\, a unique combination of visual transcendence and quiet moments of beauty. Potent symbols – the egg\, the eye\, the cross – recur throughout his oeuvre\, teaching viewers to see his paintings as part of a larger fabric of universal mythos\, even as a conduit to an understanding of those omnipresent ideas. \nAlong with symbols\, color was Scharf’s most powerful tool to convey ideas using the language of abstraction. In Top Sphinx\, crimson\, fiery orange\, black\, cobalt blue\, and turquoise color fields evoke sentiments of tension and cohesion and appear laden with allusive\, enigmatic meanings. In Untitled\, 1962\, pink\, egglike forms at the center of the composition glow against a field of black\, earthy brown\, and dark blue\, evoking notions of fertility\, creation\, and the eternal lifecycle. \nScharf’s style crystalized during this period\, as evidenced in a series of small canvases from the mid-1960s first shown at Betty Parsons Gallery in New York. Works such as Lid’s Night\, 1964 distill free-flowing brushwork into discrete vignettes of glowing form\, each emerging from the shadowed plane like a luminescent creature from the quiet depths. These forms coalesce into compositions that function like contained ecosystems\, small aquarium glimpses into a larger\, grander and more wonderful world. \n\nImage HTG16207:\nWilliam Scharf\nThe Sea Went Red and Right\, 1964\nGouache on paper\n11 x 13 3/4 inches
URL:https://artinamericaguide.com/event/online-viewing-room-william-scharf/
LOCATION:Hollis Taggart\, 521 West 26th Street\, 1st Floor\,\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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DTSTART;VALUE=DATE:20200305
DTEND;VALUE=DATE:20200602
DTSTAMP:20260613T132052
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SUMMARY:Viewing Room | History Reclaimed
DESCRIPTION:On March 5\, Hollis Taggart opened History Reclaimed\, a two-person exhibition of new and recent work by interdisciplinary contemporary artists Suchitra Mattai and Adrienne Elise Tarver. Featuring painting and embroidery as well as a large-scale\, site-specific installation by Mattai\, the exhibition will capture the intricate formal approaches Mattai and Tarver take to reveal the voices and identities of individuals—in particular women—who have been obscured and made invisible through colonialism\, oppression\, and deep rooted stereotypes and tropes. Mattai and Tarver bring their distinct backgrounds to bear as they explore the complexity of identity through personal and collective histories\, engaging with narratives of subjugation that remain relevant today.  \nImage:\nInstallation View\nHistory Reclaimed\nSuchitra Mattai and Adrienne Elise Tarver\nCourtesy of Hollis Taggart
URL:https://artinamericaguide.com/event/viewing-room-history-reclaimed/
LOCATION:Hollis Taggart\, 521 West 26th Street\, 1st Floor\,\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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DTSTART;TZID=America/Halifax:20200220T100000
DTEND;TZID=America/Halifax:20200314T180000
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SUMMARY:Norman Bluhm | Space Time Continuum
DESCRIPTION:On February 20\, Hollis Taggart will open its second solo exhibition of work by American artist Norman Bluhm. The exhibition will feature paintings and works on paper\, dating from 1957-1997\, offering audiences insight into the full arc of Bluhm’s creative output.  \nThe gallery presentation\, titled Norman Bluhm: Space Time Continuum\, 1950s to 1990s\, curated by his daughter Nina Bluhm has been developed as a companion to the Newark Museum’s Norman Bluhm: Metamorphosis\, the first monographic survey of Bluhm’s career\, on view from February 13 – May 3\, 2020. Together\, the two exhibitions capture the depth and intricacy of Bluhm’s oeuvre—one that deserves much greater scholarly attention and study. The gallery exhibition will remain open through March 14\, 2020. \n\nImage:\nUntitled\, 1966\, Ink and gouache on paper\, 30 1/2 x 22 1/4 inches.\nCourtesy of Hollis Taggart.
URL:https://artinamericaguide.com/event/norman-bluhm-space-time-continuum/
LOCATION:Hollis Taggart\, 521 West 26th Street\, 1st Floor\,\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20200109T180000
DTEND;TZID=America/Halifax:20200222T180000
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SUMMARY:Of Folly\, Fortune\, Glory\, Ruin: William Buchina and Christina Nicodema
DESCRIPTION:Hollis Taggart Contemporary to Present New and Recent Work  \nBy Artists William Buchina and Christina Nicodema \n  \nOf Folly\, Fortune\, Glory\, Ruin On View January 9 – February 22\, 2020 \nOpening Reception on January 9\, 6:00 – 8:00 PM \n  \nOn January 9\, Hollis Taggart Contempaorary will open Of Folly\, Fortune\, Glory\, Ruin\, a two-person exhibition featuring the work of contemporary artists William Buchina and Christina Nicodema. The exhibition highlights Buchina and Nicodema’s distinct but related approaches to examining human rituals and social norms through unexpected\, and often strange\, dichotomies and juxtapositions. Their rich and layered paintings capture\, in glimpses\, the hypocrisies and extravagancies that exist within our daily lives and experiences. This shared vision is further articulated in the exhibition title\, which takes its name from a line in William Thackeray’s poem Vanitas Vanitatum (Vanity of Vanities). Of Folly\, Fortune\, Glory\, Ruin: William Buchina and Christina Nicodema will feature new and recent paintings by both artists and remain on view through February 22\, at Hollis Taggart Contemporary at 514 W. 25th Street. An opening reception will be held on January 9\, from 6:00 – 8:00 PM. \n  \nBuchina’s paintings meld a wide range of imagery\, symbols\, and references to produce Surrealist-style amalgamations that capture the common and inextricable relationships between the everyday and the bizarre. Recently\, Buchina has been working with images of figures gathered together\, whether for religious ceremonies\, political rallies\, marshal interventions\, or other social situations. In Buchina’s paintings\, the figures are removed from their contexts\, relieved of their personalities\, and re-configured in dense compositions. The incorporation of people in varying acts of praise\, reverence\, or allegiance infuse these scenes with an unsettling quality and suggest political critique—although the exact intention is obscured. These sensations are further emphasized by Buchina’s distinct formal approach\, which mixes fine lines and detailed precision with flat swathes of bright color. This gives his work a montage or graphic novel effect\, with the viewer passing through a series of disjointed vignettes. In this way\, Buchina’s work is a kind of anthropological study of human behavior—a series of examples of the tribalistic ways in which people seek to meet their various and divergent needs\, aspirations\, and beliefs. \n  \nNicodema’s lush and vivid still-life paintings present a decadent assortment of foods\, flora\, and fauna. Through these seemingly disparate images and references\, Nicodema examines the schisms of the food chain and the impossibility of reconciling the notions of violence and empathy therein. Her compositions begin with the internet\, which she scours for sources—responding particularly to social media’s affection for and elevation of food porn. She then remixes and manipulates these found visuals\, either digitally or within the process of painting\, to create tableaus that connect to the art historical traditions of Dutch vanitas paintings and Hieronymus Bosch’s fantastic compositions. By translating the language of the internet into painting\, Nicodema also collapses the notional hierarchies between high and low art\, creating her own vocabulary to examine contemporary culture and the endless cycle of dominance and submission present throughout all species and cultures. Within this wide-ranging study\, Nicodema consistently returns to the food chain\, as a primary example of the dichotomy between the desire to nurture and destroy. These subtexts are both amplified and obscured by the brilliant\, often pastel and neon\, coloring of her paintings. \n  \n  \n  \nOf Folly\, Fortune\, Glory\, Ruin: William Buchina and Christina Nicodema will open concurrently to Kenichi Hoshine: The Magician and The Thief at Hollis Taggart’s flagship location at 521 W. 26th Street. \n  \nAbout Hollis Taggart \nFounded in 1979\, Hollis Taggart presents significant works of American art\, showcasing the trajectory of American art movements from the Hudson River School to American Modernism and the Post-War and Contemporary eras. Its program is characterized by a deep commitment to scholarship and bringing to the fore the work of under-recognized artists. The gallery has sponsored several catalogue raisonné projects\, most recently for the American Surrealist artist Kay Sage\, and has been instrumental in advancing knowledge of such compelling artists as Alfred Maurer\, Arthur B. Carles\, and more recently\, Theodoros Stamos\, Marjorie Strider and Michael (Corinne) West. In the summer of 2019\, the gallery announced the formal expansion of its primary market business and focus on the presentation of contemporary work\, operating under Hollis Taggart Contemporary. The gallery’s flagship space is located on W. 26th Street and its contemporary division is based at secondary location on W. 25th Street. The gallery also has a private viewing and storage facility in the neighborhood. With 40 years of experience\, Hollis Taggart is widely recognized by collectors and curators for its leadership\, expertise\, and openness\, on matters of art history\, and market trends and opportunities. \n  \n### \n  \nFor more information\, please contact: \nAlina Sumajin \nPAVE Communications & Consulting \nalina@paveconsult.com / 646-369-2050 \n  \n  \n  \n  \n 
URL:https://artinamericaguide.com/event/of-folly-fortune-glory-ruin-william-buchina-and-christina-nicodema/
LOCATION:Hollis Taggart\, 521 West 26th Street\, 1st Floor\,\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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SUMMARY:Kenichi Hoshine: The Magician and The Thief
DESCRIPTION:Hollis Taggart to Open Solo Exhibition of New Work  \nBy New York-based Artist Kenichi Hoshine  \n  \nOn View January 9 – February 15\, 2020 \nOpening Reception January 9\, 6:00 – 8:00 PM \n  \nOn January 9\, Hollis Taggart will open Kenichi Hoshine: The Magician and The Thief\, a solo exhibition of the New York-based artist’s work. Inspired by a wide range of subjects—from film and television\, to theatrical sets\, to found imagery—Hoshine’s painting practice is grounded in the experiences of his daily life. Expressed in abstract forms and gestures\, however\, these everyday references are imbued with newfound emotion and narrative quality. For his upcoming exhibition at Hollis Taggart\, Hoshine will present a selection of new paintings on wood panel that capture his converging fascinations with theater\, poster design\, and the occult. \n  \nKenichi Hoshine: The Magician and The Thief will be on view through February 15\, 2020 at the gallery’s flagship location at 521 W. 26th Street. The show will be accompanied by a catalogue that includes an essay by art historian and critic John Yau that examines Hoshine’s vision and formal approach. An opening reception will be held on January 9\, from 6:00 to 8:00 PM. \n  \nHoshine’s paintings are compellingly elusive. Representational elements emerge within his bold\, vividly colored compositions only to disappear into emotive tangles of brushstrokes\, denying the viewer any narrative clarity. For Hoshine\, the depth and openness of the visual experience are essential\, saying\, “I have always found images that are obscured or fragmented to be more interesting than ‘complete’ pictures.” In his early work\, this fragmentation was driven by the use of an extensive cadre of materials. His paintings often incorporated acrylics\, charcoal\, tea\, beeswax\, and oils\, giving his abstractions both aesthetic and physical depth. \n  \nWith his most recent works\, Hoshine has substantively pared down his materials\, focusing predominantly on the qualities and possibilities of acrylic paint alone. Leveraging the speed with which the material dries\, Hoshine actively layers and then scrapes away the paint on the panel surface—often numerous times in a single work. This results in a physical and active editing process that has become critical to his career-long exploration of notions of revelation and obscurity. \n  \nAt the same time\, the purposeful limitation of materials has infused a fresh spontaneity into Hoshine’s approach\, yielding a wider range of gestural actions and effects. Together\, his meticulous\, at times obsessive\, process and rich use of color result in paintings that draw the eye and inspire deep looking. With his upcoming exhibition\, Hoshine continues his study of the relationships between representation and abstraction\, nature and artifice\, and the psychological experience of indoor and outdoor environments. \n  \n“When I first came across Kenichi’s work\, I was immediately captivated by the vibrancy and intricacy of his compositions. I’ve been examining the development of his process and approach since that initial introduction and continue to be moved by his vision and the energy that his work exudes. I’m delighted to have the opportunity to share his work with our audiences and to support the development of a catalogue that shines a light on his practice\,” said Hollis Taggart. \n  \n— \n  \nBorn in Tokyo\, Japan in 1977\, Hoshine grew up in New Jersey and studied in New York\, where he attended the School of Visual Arts. Hoshine’s work has been exhibited widely in the U.S. and abroad. In 2016\, his paintings were exhibited as part of the Colección Solo at the Espacio Solo Gallery in Madrid\, as well as the two-person exhibition Untouchable: Dérive de l’espirit at the Galerie Guido Romero in Paris. Most recently\, his work has been presented in a group show at the Harpy Gallery in New Jersey; in collaboration with Pt. 2 Gallery at the Juxtapoz Clubhouse in Miami; and in the solo exhibition Amawalk in California. In addition to his studio practice\, Hoshine has taught at the Pratt Institute in New York. \n  \nAbout Hollis Taggart \nFounded in 1979\, Hollis Taggart presents significant works of American art\, showcasing the trajectory of American art movements from the Hudson River School to American Modernism and the Post-War and Contemporary eras. Its program is characterized by a deep commitment to scholarship and bringing to the fore the work of under-recognized artists. The gallery has sponsored several catalogue raisonné projects\, most recently for the American Surrealist artist Kay Sage\, and has been instrumental in advancing knowledge of such compelling artists as Alfred Maurer\, Arthur B. Carles\, and more recently\, Theodoros Stamos\, Marjorie Strider and Michael (Corinne) West. In the summer of 2019\, the gallery announced the formal expansion of its primary market business and focus on the presentation of contemporary work\, operating under Hollis Taggart Contemporary. The gallery’s flagship space is located on W. 26th Street and its contemporary division is based at secondary location on W. 25th Street. The gallery also has a private viewing and storage facility in the neighborhood. With 40 years of experience\, Hollis Taggart is widely recognized by collectors and curators for its leadership\, expertise\, and openness\, on matters of art history\, and market trends and opportunities. \n  \n### \n  \nFor more information\, please contact: \nAlina Sumajin \nPAVE Communications & Consulting \nalina@paveconsult.com / 646-369-2050 \n  \n  \n  \n  \n 
URL:https://artinamericaguide.com/event/kenichi-hoshine-the-magician-and-the-thief/
LOCATION:Hollis Taggart\, 521 West 26th Street\, 1st Floor\,\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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SUMMARY:Space Poetry: The Action Paintings of Michael West
DESCRIPTION:Hollis Taggart to Open Survey of Artist Michael West\, \nPositioning Her Work Anew Within the Trajectory of Abstract Expressionism \nOn View November 7 – December 21\, 2019 \nOpening Reception November 7\, from 6:00 – 8:00 PM \nOn November 7\, Hollis Taggart will open a survey of Abstract Expressionist painter Michael West \n(1908-1991)\, marking the first solo presentation of the artist’s work since the gallery took on \nexclusive representation of her estate earlier this year. Michael West—born Corinne Michelle West— \nis recognized by art historians as a vocal and active participant in the development of Abstract \nExpressionism\, bringing a highly developed personal philosophy and vision to her work. Despite her \nsubstantive participation in the dialogues and artistic innovations that shaped the movement\, West is \nbest remembered for her intense personal relationship with artist Arshile Gorky—her own narrative \nobscured by the sexism of the period and subsequent passage of time. \nIn line with recent renewed investigations of the critical contributions of female artists within the art \nhistorical canon\, Hollis Taggart’s upcoming survey of West’s work aims to rectify the omission of her \npractice within our understanding of Abstract Expressionism. This follows the gallery’s work in \nbringing to light and deepening scholarship on other 20th century women artists\, including Audrey \nFlack\, Grace Hartigan\, Kay Sage\, and Idelle Weber\, among others. The exhibition\, Space Poetry: The \nAction Paintings of Michael West\, will feature a selection of paintings and drawings that spans the \nbreadth of West’s production\, from the early 1940s through the 1980s. It is accompanied by an essay \nexploring the trajectory of West’s practice\, written by art historian Ellen G. Landau. Space Poetry will \nbe on view at the gallery’s W. 26th Street location through December 21\, 2019. \nBorn in Chicago and raised in Ohio\, West moved to New York in 1932\, where she became a member \nof Hans Hofmann’s first class at the Art Students League. Hoffman’s teachings on the “inner eye” and \nemphasis on capturing the essence of things would serve as a fundamental tenet of West’s work \nthroughout her career. Shortly thereafter\, in 1935\, she was introduced to Arshile Gorky\, with whom \nshe developed a relationship that would last for nearly a decade. Her visits to Gorky’s studio would \nalso prove essential to West’s development of her own stylistic approach. Her prolific writings on \ntheir discussions of art as well as their correspondence—which is retained in part in her estate— \ncaptured the philosophical underpinnings of her work\, providing essential context for the reexamination \nof her career. \nAlthough Gorky tried to convince West to marry him\, she declined\, citing her drive and desire for a \ncareer of her own. In 1939\, West\, who was determined to find artistic success despite her gender\, \nbegan using the masculine name\, Mikael West\, later shifting to Michael West and joining other \nfemale Abstract Expressionists like George (Grace) Hartigan and Lee (Lenore) Krasner. While West \nhad taken to heart Hofmann’s commitment to drawing out the internal spirituality of external physical \nelements\, her earlier works\, represented in the exhibition by Egian Girl (1942)\, retained the color and \nform developed by the earlier generation of Cubist artists\, such as Pablo Picasso and Juan Gris. \nIn the mid 1940s\, several important threads within West’s learnings and experimentations coalesced \ninto what would become the vision and approach that would guide her work from the next several \ndecades. At this time\, West began to experiment more with free-form gesture\, taking cues from the \nall-over paintings of Jackson Pollock and developing entirely abstract compositions of her own. An \navid reader throughout her life\, West\, concurrently became engaged with Art and Poetry\, a book by \nFrench philosopher Jacques Maritain\, which evoked for West new considerations of art\, nature\, and \nspirituality. These formal and philosophical elements—supported by her time under Hofmann’s \ntutelage— then further fused with her belief in the importance of the contemporary moment to the \ndevelopment and experience of art. She was deeply connected to current events and wrote about the \nworld’s happenings extensively in personal journals. \nHer examination of the relationships between global events\, the individual\, and creative process \nyielded a personal philosophy\, which she referred to as the “new mysticism.” She penned several \nessays on the subject in the 1940s\, including a text titled\, “The New Mysticism in Painting”—making \nher a rare example of a woman writing on the philosophy of art during the ascendance of Abstract \nExpressionism. Her works\, then\, from the mid 1940s through the1950s were guided by this vision and \nwere characterized in turn by both vibrant\, arabesque-ing lines and sharp and aggressive brushstrokes. \nSpace Poetry will feature a wide selection of paintings as well as drawings from this particularly \nfertile and productive period in West’s career\, capturing her stylistic evolution and the power held \nwithin her assertive gestures. \nAs her style developed further\, she was rewarded with solo exhibitions of her work at Manhattan’s \nUptown Galleries in 1957 and at DC’s Domino Gallery in 1958. Reviews of these exhibitions in Arts \nDigest\, Times Herald\, and the Washington Post spoke to the vibrancy\, vitality\, and strength of West’s \nwork and actively positioned her alongside some of the greatest artists of the period. The relationship \nbetween life and spirit continued to occupy West’s works through the remainder of her career\, and she \nparticipated in a wide array of group and solo exhibitions. Despite the initial outpouring of interest \nand critical support from the press\, though\, West would not gain much further notoriety or scholarly \nassessment during her life. \nIn 1976\, West suffered a stroke\, and while she continued to paint until her death in 1991\, she mostly \nwithdrew from the art world\, exhibiting rarely. Space Poetry will also include several works from this \nlate period in West’s life\, engaging audiences with the full arc of her practice. Five years after her \ndeath\, the Pollock-Krasner House and Study Center mounted an acclaimed retrospective of the West’s \nwork\, titled Michael West: Painter-Poet. With the upcoming exhibition\, Hollis Taggart further reveals \nthe intricacy and depth of West’s work\, providing audiences a new opportunity to connect with \nWest’s singular approach and putting forward another female voice that should be considered within \nthe dialogue of Abstract Expressionism and the modern and contemporary art movements that have \nsince followed. \nAbout Hollis Taggart \nFounded in 1979\, Hollis Taggart presents significant works of American art\, showcasing the \ntrajectory of American art movements from the Hudson River School to American Modernism and \nthe Post-War and Contemporary eras. Its program is characterized by a deep commitment to \nscholarship and bringing to the fore the work of under-recognized artists. The gallery has sponsored \nseveral catalogue raisonné projects\, most recently for the American Surrealist artist Kay Sage\, and has \nbeen instrumental in advancing knowledge of such compelling artists as Alfred Maurer\, Arthur B. \nCarles\, and more recently\, Theodoros Stamos\, Marjorie Strider and Michael (Corinne) West. In the \nsummer of 2019\, the gallery announced the formal expansion of its primary market business and \nfocus on the presentation of contemporary work\, operating under Hollis Taggart\, Contemporary. The \ngallery’s flagship space is located on W. 26th Street and its contemporary division is based at \nsecondary location on W. 25th Street. The gallery also has a private viewing and storage facility in the \nneighborhood. With 40 years of experience\, Hollis Taggart is widely recognized by collectors and \ncurators for its leadership\, expertise\, and openness\, on matters of art history\, and market trends and \nopportunities. \n### \nFor more information\, please contact: \nAlina Sumajin \nPAVE Communications & Consulting \nalina@paveconsult.com / 646-369-2050
URL:https://artinamericaguide.com/event/space-poetry-the-action-paintings-of-michael-west/
LOCATION:Hollis Taggart\, 521 West 26th Street\, 1st Floor\,\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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SUMMARY:Thresholds of Perceptibility: The Color Field Paintings of Leon Berkowitz
DESCRIPTION:On October 3\, Hollis Taggart will open Thresholds of Perceptibility: The Color Field Paintings of Leon Berkowitz\, marking the gallery’s first solo presentation of the artist’s work since it took on exclusive representation of his estate in February 2019. Berkowitz\, a contemporary of Willem de Kooning\, Morris Louis\, and Kenneth Noland\, is best known for his brilliant and luminous articulation of natural light on the surfaces of his canvas. His singular use of color to evoke the sensation and poetic experience of light is best encapsulated in his large-scale paintings of the 1970s and 1980s. For Thresholds of Perceptibility\, Hollis Taggart will present approximately a dozen of Berkowitz’s paintings from these decades\, including several canvases that measure almost nine feet. Together\, these stunning paintings draw the viewer into Berkowitz’s magnificent fields of color\, which seem to vibrate with energy. The exhibition is accompanied by an essay examining the development of Berkowitz’s distinct style and approach\, written by the art historian Jason Rosenfeld\, Distinguished Chair and Professor of Art History at Marymount Manhattan College. Thresholds of Perceptibility will remain on view through November 2\, 2019 at the gallery’s location at 521 W. 26th Street. The gallery will host a panel discussion on Berkowitz’s work on October 19\, moderated by Rosenfeld. \n  \nAlthough Berkowitz (1911-1987) is most frequently associated with Washington\, D.C.\, where he spent most of his life\, he received his education across a wide range of institutions\, including the University of Pennsylvania in Philadelphia\, the Art Students League in New York\, and academies in Paris\, Florence\, and Mexico City. In 1947\, Berkowitz and his wife\, the German-American poet Ida Fox\, established the Washington Workshop Center for the Arts\, which became an important platform for creative production and dialogue across the visual and performing arts in the D.C. area. The Center brought together acclaimed and emerging artists from Washington\, New York\, and other locales\, and promoted Washington\, D.C.\, as a site for important artistic production. Through its participants the Center became closely associated with the development of the Washington Color School\, an extension of Abstract Expressionist Color Field Painting\, which had been made famous in New York by artists such as Mark Rothko and Barnett Newman. \n  \nAlthough he played a pivotal role in cultivating the careers of the founders of the group\, Berkowitz would\, throughout his own career\, eschew the positioning of his work within the Washington Color School movement\, resisting its formal investigations in favor of more poetic and spiritual evocations of color and light. Berkowitz moved abroad to Spain in 1954\, and he would spend the next decade living and traveling in Europe. It was during this time that he cemented his commitment to conveying the emotional\, psychological\, and physical experience of light\, inspired by his own experiences painting in the open air. After producing works that delved into geometric abstraction in the 1960s\, by the early 1970s he developed a signature style\, in works characterized by both vibrant fields of color and subtle and nearly imperceptible transitions between hues. In the last two decades of his life he would produce his most powerful and stylistically individuated work. \n  \nBerkowitz developed a technique entirely his own\, painting with a mixture made of 10% oil paint and 90% turpentine. He would paint the surface of the canvas with this pigmented wash\, dry it with rags and blow-dryers\, and then repeat the process\, sometimes up to 40 times. This allowed him to eliminate any distinguishing lines or boundaries between his colors\, leaving only a gradual expansion of tone that seemed to extend beyond the canvas itself and conveyed a slow\, developing glow. To further control the placement and impact of the color\, Berkowitz often lined his canvases with tissue paper\, ensuring a controlled buildup of the desired hues. \n  \nBerkowitz’s fascination with the translation of perceived light not only connects him to the Color Field painters in Abstract Expressionism\, but also to the effects sought by artists associated with California’s Light and Space Movement\, such as James Turrell and Doug Wheeler. Indeed\, his canvases exude a captivating luminescence that seems to emanate from deep within\, enveloping viewers. With Thresholds of Perceptibility\, Hollis Taggart reintroduces audiences to Berkowitz’s practice and invites further exploration of an artist who\, throughout his life\, pursued his own artistic vision\, one that addressed but also extended beyond the popular artistic dialogues and modes of the time. Equally\, it invites viewers to immerse themselves in the meditative beauty of his work. \n  \n— \n  \nThroughout his career\, Berkowitz participated in a wide range of solo and group exhibitions\, including those at the Baltimore Museum of Art\, Chicago Arts Club\, Corcoran Gallery of Art\, Hirshhorn Museum and Sculpture Garden\, Phillips Collection\, and Ringling Museum in Sarasota\, Florida\, among others. His work is held in the collections of the Museum of Modern Art in New York\, High Museum of Art in Atlanta\, and the Wadsworth Atheneum in Hartford\, Connecticut\, among numerous others. In addition to his own practice\, Berkowitz was a well-recognized teacher. He served as the chairman of the painting department at The Corcoran Gallery’s School of Art\, where he taught for nearly twenty years until his death in 1987. \n  \nAbout Hollis Taggart \nFounded in 1979\, Hollis Taggart—formerly known as Hollis Taggart Galleries—presents significant works of American art showcasing the trajectory of American art movements from the Hudson River School to American Modernism and the Post-War and Contemporary eras. Its program is characterized by a deep commitment to scholarship and bringing to the fore the work of under-recognized artists. The gallery has sponsored several catalogue raisonné projects\, most recently for the American Surrealist artist Kay Sage\, and has been instrumental in advancing knowledge of such compelling artists as Alfred Maurer\, Arthur B. Carles\, and more recently\, Theodoros Stamos\, Marjorie Strider and Michael (Corinne) West. In the summer of 2019\, the gallery announced the formal expansion of its primary market business and focus on the presentation of contemporary work\, operating under Hollis Taggart\, Contemporary. The gallery has a public space on W. 26th Street\, which serves as its flagship\, and a private viewing and storage facility on the same street. With 40 years of experience\, Hollis Taggart is widely recognized by collectors and curators for its leadership\, expertise\, and openness\, on matters of art history\, and market trends and opportunities. \n  \n### \nFor more information\, please contact: \nAlina Sumajin\, PAVE Communications & Consulting \nalina@paveconsult.com / 646-369-2050           \n 
URL:https://artinamericaguide.com/event/thresholds-of-perceptibility-the-color-field-paintings-of-leon-berkowitz/
LOCATION:Hollis Taggart\, 521 West 26th Street\, 1st Floor\,\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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SUMMARY:Alex Kanevsky: Liberation and Disorientation
DESCRIPTION:On September 5\, Hollis Taggart will open its second solo exhibition of works by contemporary painter Alex Kanevsky. The exhibition\, titled Liberation and Disorientation\, will feature a selection of Kanevsky’s vibrant oil paintings\, exploring a wide range of subjects\, from land and seascapes to nudes to floral still lifes. Produced between 2018 and 2019—and most on view for the first time—the works highlight Kanevsky’s singular ability to capture the fluidity of time\, through a blending of figurative and abstract approaches and rich use of color. Kanevsky’s paintings are imbued with emotional potency and the possibility of a narrative left untold. An opening reception\, at which the artist will be present\, will be held on September 5\, from 6:00 to 8:00 PM. The exhibition will remain on view through September 28\, 2019. \n  \nInspired by the concept of unstable equilibrium in physics\, Kanevsky\, who studied theoretical mathematics at Vilnius University in Lithuania before pursuing an artistic career in the United States\, creates compositions that defy easy interpretation and understanding. This is particularly felt in his treatment of the figure\, which is often depicted in gestural\, intentionally imprecise strokes against landscapes rendered with large swaths of color. Free of geographical and architectural markers\, time\, and orienting symbols\, the figure is cast adrift within in an open field of possibility\, leaving the viewer to discern and impose their own understanding of the scene. For Kanevsky this dislocation is essential to his practice\, framing the experience as a “provocation” rather than a specific memory or moment caught on canvas. In this way\, Kanevsky also sees his paintings as “visual poems\,” emphasizing evocations of mood and atmosphere. \n  \nThe power of Kanevsky’s paintings to compel emotion and engagement is intrinsically tied to his process. As he layers and works the canvas\, prior approaches and experimentations are both removed and left visible\, creating the sensation that the painting is teeming with action. Bright\, shimmering colors collide\, shifting the contours of the scene in and out of focus and producing the feeling of depth beneath the surface plane. The instability with which Kanevsky’s works are laced also extends to his treatment of the body\, as he explores not only the inherent beauty of the human form but the ways in which it changes and moves\, in quick motions and through the slow passage of time. These studies and experimentations result in paintings that feel both incredibly tactile and ephemeral. \n  \nIn addition to a selection of nudes that encapsulate Kanevsky’s singular style and have become synonymous with his practice\, Liberation and Disorientation will include seascapes from the artist’s recent residency at the Ballinglen Arts Foundation in Ballycastle\, Ireland. Created in the only place where Kanevsky still paints en plein air\, the paintings serve as a record of struggle: both Kanevsky’s own physical struggle while painting outside in adverse weather conditions (indeed\, one of the canvases even has a dent from flying away) as well as the broader struggles of the people of Ireland. The views of the crashing waves\, both lovely and melancholic\, speak to the rugged terrain\, which in itself elicits a range of emotions\, while also providing a potent metaphor for the human experience. \n  \nOf his seascapes Kanevsky says\, “Their fast movement was an observational problem. It was daunting\, until I saw their cyclical nature. They repeat themselves often enough\, and this makes it possible to paint directly from observation. Of course\, this is not an exact repetition. The situation is similar to an artist painting a strange portrait: each time the artist looks at the sitter\, there is a different person. A human face to be sure\, but not the same. The result is not a portrait of a single individual\, but an accumulative\, if somewhat ambiguous\, image of humanity.” Indeed\, both Kanevsky’s seascapes and portraits possess a kind of inherent velocity that results from containing so many different moments in one still image. \n  \nThe exhibition also includes paintings from the artist’s recent series Peony Variations (2019)\, in which Kanevsky applies his masterful brushwork to a peony set in the same place over the course of many days\, capturing the minute changes in its postures and positions. Influenced by the variations of artists such as Matisse and Hokusai—as well as his interest in musical variations—Kanevsky says “I am interested in variations that begin with the subject\, but then gradually become based on each other in succession.” \n  \nKanevsky also sometimes draws inspiration from vintage photographs. One of the most evocative works in the exhibition\, Girl with a Horse in Cerulleda (2019)\, began with Kanevsky’s fascination with a photograph he found while visiting a friend in a small town in Asturias\, Spain\, which depicts a small girl seated on a horse. In Kanevsky’s painterly interpretation\, the girl—centered on a canvas stretching 5.5 by 5.5 feet— appears within the magnitude of the Picos de Europa which surround her home. The viewer is confronted by the girl’s seeming comfort and ownership of this vast expanse as well as by her incredible vulnerability within it\, evoking a wide array of emotions and questions about her as a person in this landscape. The scene feels at once familiar and eerily foreign and incongruous\, forcing the viewer to\, once again\, grapple with their own response. \n___ \n  \nAlex Kanevsky was born in Russia in 1963 and studied theoretical mathematics at Vilnius University in Lithuania before coming to the United States in the early 1980s. He settled in Philadelphia and began painting classes at the Philadelphia Academy of the Fine Arts in 1989. After receiving a Pew Fellowship in 1997\, Kanevsky was able to devote himself to painting full time. He has exhibited his work throughout the United States\, Canada\, Italy\, the United Kingdom\, and Ireland\, and currently lives and works in New Hampshire. \n  \nAbout Hollis Taggart \nFounded in 1979\, Hollis Taggart—formerly known as Hollis Taggart Galleries—presents significant works of American art\, showcasing the trajectory of American art movements from the Hudson River School to American Modernism and Post-War and Contemporary eras. Its program is characterized by a deep commitment to scholarship and bringing to the fore the work of under-recognized artists. The gallery has sponsored several catalogue raisonné projects\, most recently for Surrealist artist Kay Sage\, and has been instrumental in advancing knowledge of such compelling artists as Alfred Maurer\, Arthur B. Carles\, and more recently\, Theodoros Stamos\, Marjorie Strider and Michael (Corinne) West. In summer 2015\, the gallery moved its primary location from the Upper East Side to Chelsea. In fall 2018\, it opened a newly renovated street-level location on W. 26th Street\, a private viewing and storage annex across the street\, and a project space at the High Line. With 40 years of experience\, Hollis Taggart is widely recognized by collectors and curators for its leadership\, expertise\, and openness\, on matters of art history\, and market trends and opportunities. \n### \nFor more information\, please contact: \nAlina Sumajin\, PAVE Communications & Consulting \nalina@paveconsult.com / 646-369-2050                                                                                
URL:https://artinamericaguide.com/event/alex-kanevsky-liberation-and-disorientation/
LOCATION:Hollis Taggart\, 521 West 26th Street\, 1st Floor\,\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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SUMMARY:Summer Selections
DESCRIPTION:We are pleased to present a selection of Post-War and Contemporary works from our inventory. Work by artists including Pablo Atchugarry\, SoHyun Bae\, Lisa Bradley\, Sam Gilliam\, Hollis Heichemer\, Hans Hofmann\, Kenichi Hoshine\, Chloë Lamb\, Conrad Marca-Relli\, Betty Parsons\, Matt Phillips\, and Larry Poons.
URL:https://artinamericaguide.com/event/summer-selections/
LOCATION:Hollis Taggart\, 521 West 26th Street\, 1st Floor\,\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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SUMMARY:John Knuth: The Origin of the New World
DESCRIPTION:OPENING RECEPTION\nSaturday\, June 8\, 2019\, 6-8PM\n521 West 26th Street\nRSVP Only: 212.628.4000 or rsvp@hollistaggart.com \n  \n“The fly paintings are a microcosm of the real world. If you take a million people and confine them to a tight space something magical and transcendent happens. That’s New York City. That’s also what’s happening on the canvas.”  -Los Angeles-based artist John Knuth. \nHollis Taggart is pleased to present The Origin of the New World\, the first solo exhibition in New York City for Los Angeles-based artist John Knuth. The artist is recognized for his engagement with environmental concerns and a singular use of fly regurgitations to produce vibrant and seemingly luminescent abstract paintings. The exhibition at Hollis Taggart\, which is curated by independent curator and art dealer Paul Efstathiou\, will feature a selection of new “fly paintings” and also debut a three-dimensional globe format for Knuth’s fly works. As part of the presentation\, and to highlight Knuth’s process\, several of the new fly globes will be made through the duration of the show. The Origin of the New World will be on view from June 8 through June 29\, 2019 at the gallery’s Project Space at 507 W. 27th Street. \n“I have always been fascinated by and taken inspiration from artist Gustave Courbet\, and in particular his focus on portraying the realities of the common man. For me\, this is where the fly paintings begin\, with the fly serving as a stand-in for man and the final painting encapsulating what can be created when we work together. At the same time\, human production has\, and continues to\, rapidly reshape the world\, in ways that we cannot yet fully understand. Exploring the ramifications of that change\, particularly to the natural landscape\, is another important underlying theme to the fly works and to my practice at large.”  -Knuth \nKnuth first gained attention for his fly paintings in 2013 when The Museum of Contemporary Art\, Los Angeles made a documentary that explored his leveraging of the biological processes of flies to create abstract landscapes on canvas. Flies are in a constant state of regurgitation—each time they land on a surface they spit out an enzyme that allows them to liquefy their food so it can be consumed. Here\, Knuth saw an opportunity to explore how an ordinary daily occurrence could come to represent much larger ideas about creation\, collaboration\, and monumental change. To make these works\, Knuth began constructing cages\, which he lined with primed canvas and into which he released hundreds of houseflies. Fed a mixture of acrylic paint and sugar water\, the flies produced hundreds of thousands of colored specks on the canvas. Over time\, Knuth has honed the process\, giving him incredible control over the coloring and final effects of the paintings. The vividly-colored\, incandescent paintings\, which belie their origins\, highlight Knuth’s incredible ability to transform what at first may seem base into something that is both aesthetically beautiful and complex in its conceptual underpinnings. \n“I live in Los Angeles\, so I spend a lot of time in the car. It gives me a lot of time to think\, but also to look out at the metropolis that is my adopted city. I see how as the city continues to build and expand\, we are altering the landscape. We’re creating something new but we’re also leaving a scar. There’s a fine line between the beauty of innovation and the decay that it can and does reap. The fly paintings are about the mark\, literally and metaphorically. Singularly\, one fly speck doesn’t mean much\, but together—there’s an impact\, whether good or bad.” -Knuth. \nFor The Origin of the New World\, Knuth took his inspiration from New York\, in particular the many waterways that surround the city and that have made it an essential global hub. As such\, the color palette for the show is largely based in hues of blue\, with shimmering\, metallic undertones to mark the light and structure of the city. The exhibition will feature new large-scale paintings—some of the largest that Knuth has ever created—as well as several three-dimensional globes\, which represent a new format for the artist’s fly work. The globes are a clear and direct reference to the earth; their blue coloring connoting large expanses of water. Conceptually\, the show captures the tension between the natural and the man-made\, and the ongoing changes to both. \n“With the globes\, I wanted to bring a new format to the approach and dialogue with which I’m engaging. In this case\, it’s very literal. We are irreparably changing the earth. With every shining\, gleaming new structure we erect\, we are changing the climate\, the environment\, the landscape. I am using an abstract process\, but the message is direct. And it needs to be\, because there is an increasing sense of desperation. I certainly feel it. So\, while I’m dealing a lot with process and its transformative capacity\, I’m really most interested in the realities of our world.” -Knuth. \nAbout John Knuth\nJohn Knuth (b. 1978) challenges traditional notions of art making by creating aesthetically stunning works through indelicate techniques. Knuth’s vision is to take something traditionally regarded as base\, and to make it into something magnificent and in doing so engage with broader cultural dialogues. In addition to the fly paintings\, Knuth has created works with distress flares\, metallic space blankets\, and Mylar sandbags. Knuth’s recent solo exhibitions include The Silver Scenery at NewStudio Gallery\, Minneapolis\, MN; The Distorted Landscape at Marie Kirkegaard Gallery\, Copenhagen\, DK; Lake of Fire at Andrew Rafacz\, Chicago\, IL; Powerplant at Brand New Gallery\, Milan\, Italy; Base Alchemy at 5 Car Garage\, Santa Monica\, CA; and Fading Horizon at Human Resources\, Los Angeles\, CA. His works have also recently been included in group shows at The National Arts Club\, New York\, NY; Hollis Taggart\, New York\, NY; Steve Turner\, Los Angeles\, CA; University of Buffalo Art Museum\, Buffalo\, NY; International Print Center\, New York\, NY; Speed Art Museum\, Louisville\, KY; MassArt\, Boston\, MA; Los Angeles County Museum of Art\, Los Angeles\, CA; and the Minneapolis Institute of Art\, Minneapolis\, MN. He received an MFA from the University of Southern California and a BFA from the University of Minnesota. He lives and works in Los Angeles. \nAbout Paul Efstathiou\nPaul Efstathiou has worked for nearly 17 years as an art dealer and independent curator. From 2004 through 2016\, he ran PTE Fine Arts\, an arts consultancy and showroom\, in partnership with his brother\, Eric Efstathiou. In 2016\, he established the exhibition series Highlight Curated\, as a means of bringing new attention to and advancing the careers of contemporary artists with whom he’s developed deeply-rooted and long-lasting relationships. Efstathiou has produced five Highlight Curated exhibitions to-date\, including three with Hollis Taggart\, and featured the work of more than 20 artists\, including William Buchina\, Ted Gahl\, Brenda Goodman\, John Knuth\, Matt Mignanelli\, Esther Ruiz\, and Devin Troy Strother. Efstathiou also previously collaborated with Hollis Taggart on exhibitions of works by Michael Michaeledes (2012) and Theodoros Stamos (2008 and 2010). Efstathiou is dedicated to nurturing the careers of emerging and under-recognized artists\, leveraging his relationships in both the for and nonprofit sectors to develop their collector and audience bases. \nFor more information about The Origin of the New World\, please contact us at info@hollistaggart.com or 212.628.4000. For press inquiries\, please contact Alina Sumajin or Sascha Freudenheim\, PAVE Communications & Consulting at alina@paveconsult.com\, 646.369.2050 or sascha@paveconsult.com\, 917.544.6057.
URL:https://artinamericaguide.com/event/john-knuth-the-origin-of-the-new-world/
LOCATION:Hollis Taggart\, 521 West 26th Street\, 1st Floor\,\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20190606T180000
DTEND;TZID=America/Halifax:20190712T173000
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SUMMARY:Sven Lukin: Objects in Space
DESCRIPTION:Sven Lukin: Objects in Space \n  \nOn View at Hollis Taggart June 6 – July 12\, 2019 \nOpening Reception June 6\, 6:00-8:00 PM \n  \nMuch has been made over the last decade about the increasingly blurring lines between fine art and design\, as function and creative innovation meld to produce compelling new kinds of objects. In this context\, artist Sven Lukin’s painting-sculptures of the 1960s feel utterly at home and enticingly contemporary. Inspired by the work and vision of acclaimed architect Louis Kahn\, Lukin’s enigmatic works are all volumetric forms\, geometric fields of color\, and illusionistic lines and perspectives. On June 6\, Hollis Taggart will open an exhibition focused on Lukin’s work from the ‘60s\, highlighting the ongoing interest and appeal of the Post-War artist’s practice. Titled Sven Lukin: Objects in Space\, the exhibition will remain on view through July 12\, 2019 at the gallery’s primary Chelsea location at 521 West 26th Street. \n  \nLukin was born in Riga\, Latvia in 1934\, and emigrated to the United States in 1949. He entered the University of Pennsylvania\, School of Architecture in 1953\, where he was exposed to the teachings of influential architect Louis Kahn. Kahn’s ideas about monumental scale\, weight and volume\, and the significance of the unadorned surface had a profound effect on Lukin\, inspiring his work throughout his life. In 1958\, Lukin moved to New York to pursue his art\, and in 1961\, received a solo exhibition at the famed Betty Parsons Gallery\, launching him into the city’s inner art circles. \n  \nFrom the outset of his career\, Lukin pushed against the confines of the rectangular canvas. In works like Dances AA (1963)\, this effort manifests through the strategic use of color\, line\, and perspective\, giving the illusion that the multi-colored geometric form on the surface plane is extending into the space of the viewer. In other cases\, as with Untitled (1962-3)\, Lukin’s engagement with space is physical\, as an internal support beneath the stretched canvas actively protrudes forward beyond its frame. Setting this protrusion against two flattened geometric forms\, painted in deep blue and burnt orange\, Lukin amplifies the tension between the realms of painting and sculpture. \n  \nAlthough Lukin’s name is not as readily recognizable as that of Frank Stella\, history has credited Lukin with being among the first artists to experiment with the shaped canvas\, exploring the formal and aesthetic opportunities it yielded. While Stella’s interests in the shaped canvas arose from an ongoing exploration of complex geometries\, Lukin’s examination of the format remained grounded in ideas related to architecture and urban planning. As physical structures guide the way that we engage with the environment\, so too Lukin developed his painting-sculptures to entice the viewer to move forward\, away\, and to the side in order to understand the real and illusionistic components of the works. \n  \nThe playful interplay that characterizes Lukin’s work is well encapsulated in Honeymoon (1964)\, which combines the artist’s beneath-canvas protrusions—rendered here at the top right within a painted blue circle—with a small rectangular canvas that is set into and extends above the picture plane to the left. These components are further juxtaposed with a thick red line that meanders through a bubblegum pink field in the lower register of the work\, before dipping into a rich blue stripe at bottom. The work emanates an inner joy as it suggests at once the visual vocabulary of hard-edged abstraction\, modernist sculpture\, and a futuristic urban plan\, while eschewing any simple classification or understanding. \n  \nLukin’s brilliant imagination\, consistent experimentation\, and penchant for risk-taking made him a rising art world star through the 1960s and into the 1970s. After solo presentations at Betty Parsons and Martha Jackson galleries\, Lukin joined Pace Gallery in 1963\, which went on to organize five solo shows of the artist’s work. At the same time\, Lukin was featured prominently in a series of important museum exhibitions\, including The Quest and the Quarry (1961\, Rome-New Art Foundation)\, Annual Exhibition\, (1962\, 1966\, 1967\, 1969\, Whitney Museum of American Art)\, The Shaped Canvas (1965\, Solomon R. Guggenheim Museum)\, Color\, Image\, and Form (1967\, Detroit Institute of Arts)\, and L’art vivant aux États-Unis (1970\, Fondation Maeght)\, among others. In 1972\, Lukin severed his ties with Pace Gallery and determined not to show his work in commercial galleries. Although he continued to exhibit\, including in a solo exhibition at the Los Angeles County Museum of Art in 1978\, his aversion to the commercial artworld hindered his notoriety and the widespread understanding of his practice. \n  \nIn rediscovering Lukin’s work\, we gain an exciting new chapter in the narratives of Post-War American art\, expanding our knowledge of the range of voices and innovations that made it such a fertile era for making. As compellingly\, though\, we find an artist whose work stands the test of time and speaks eloquently to the ongoing contemporary bending of art and design boundaries. Lukin’s exquisite\, sometimes whimsical\, use of simple forms and volumes along with bold\, bright colors to create unclassifiable works comfortably positions him with the realms of today’s object-makers\, whose work is shown at such major presentations as Salone de Mobile\, Milano and ICFF\, opening in New York in May. This seems particularly fitting for an artist whose practice was inspired by architecture and whose work is recognized for its complex engagement with form\, material\, space\, and illusion. \n  \nAbout Hollis Taggart \nFounded in 1979\, Hollis Taggart—formerly known as Hollis Taggart Galleries—presents significant works of American art\, showcasing the trajectory of American art movements from the Hudson River School to American Modernism and Post-War and Contemporary eras. Its program is characterized by a deep commitment to scholarship and bringing to the fore the work of under-recognized artists. The gallery has sponsored several catalogue raisonné projects\, most recently for Surrealist artist Kay Sage\, and has been instrumental in advancing knowledge of such compelling artists as Alfred Maurer\, Arthur B. Carles\, and more recently\, Theodoros Stamos\, Marjorie Strider and Michael (Corinne)West. In summer 2015\, the gallery moved its primary location from the Upper East Side to Chelsea. In fall 2018\, it opened a newly renovated street-level location on W. 26th Street\, a private viewing and storage annex across the street\, and a project space at the High Line. With 40 years of experience\, Hollis Taggart is widely recognized by collectors and curators for its leadership\, expertise\, and openness\, on matters of art history\, and market trends and opportunities. \n### \nFor more information\, please contact: \nAlina Sumajin / Sascha Freudenheim \nPAVE Communications & Consulting \nalina@paveconsult.com / sascha@paveconsult.com \n646-369-2050 / 917-544-6057
URL:https://artinamericaguide.com/event/sven-lukin-objects-in-space/
LOCATION:Hollis Taggart\, 521 West 26th Street\, 1st Floor\,\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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SUMMARY:Highlight: The High Line Nine
DESCRIPTION:Hollis Taggart to Open Exhibition Exploring Contemporary Abstract Painting\, \nFeaturing the Work of Ted Gahl\, Clare Grill\, Margaux Ogden\, Gary Petersen\, \nAnd Matt Phillips \nCurated by Independent Curator Paul Efstathiou\, \nHighlight: The High Line on View May 9 – May 31\, 2019 \nOpening Reception May 9\, 6:00 – 8:00 PM \n  \nOn May 9\, Hollis Taggart will open an exhibition of recent works by five contemporary abstract \npainters\, including Ted Gahl\, Clare Grill\, Margaux Ogden\, Gary Petersen\, and Matt Phillips. Titled \nHighlight: The High Line\, the exhibition features focused explorations of each artist’s practice. While \neach artist is distinct in their vision and approach\, subtle thematic through-lines do emerge as one \nexplores the works in dialogue with each other\, including interests in the relationships between \nfiguration and abstraction and the significance of repetition and erasure within contemporary abstract \npractice. Curated by Paul Efstathiou\, an independent curator and art dealer with whom the gallery has \ncollaborated on several previous Highlight exhibitions\, Highlight: The High Line will be on view \nthrough May 31 at Hollis Taggart’s Project Space at 507 W. 27th Street. \n  \n“We are delighted to be partnering with Paul once again on a Highlight presentation\, which as a series \nfocuses on exploring the work of and developing new audiences for a wide range of artists\, especially \ncontemporary painters. The range of creative vision and technique across the featured artists is \nparticularly exciting\, and captures well the ongoing relevance of painting within contemporary \npractice\,” said Hollis Taggart. “This exhibition also provides a dynamic counterpoint to the solo \npresentation in our primary Chelsea space on the work of Knox Martin\, who at age 96 is still \nproducing new paintings that build on dialogues from across his nearly seven-decade career.” \n  \nFurther information about each featured artist as well as curator Paul Efstathiou follows below. \n  \nTed Gahl has said\, “Paintings to me are the biography of a painter\, just not in the form of a resume. It \nis a clear and tangible indication of what they were doing and seeing\, suspended in time. You’re \nlooking at a performance that you weren’t there to witness yourself.” Many of Gahl’s abstract works \nare influenced by his memories and experiences—ruminations on scenes that he has been painting and \nre-painting since childhood. Defying any easy categorization\, Gahl melds elements of figuration with \nbold\, emotive\, and even at times aggressive free-form gestures. The cohesion of these modes is \nfurther amplified in some of his large-scale canvases in which Gahl incorporates found objects\, \nadding another physical and conceptual dimension to the work. Interested in the monochrome and the \nunderpinnings of the Minimalist movement\, Gahl often plays with depth and perspective\, creating \nworks that at a distance appear flat and still but that on closer inspection reveal inflections of \nmovement and subtle forms and colors. \n  \nClare Grill takes inspiration from intricate\, handmade materials like antique lace\, quilts\, and \nembroidery. These items become the touchstones for her richly-layered abstract compositions. As she \nbegins her paintings\, she allows the canvas\, materials\, and her environment to guide her hand\, \nconsidering the ways that light illuminates imperfections in the surface\, the direction of dried strokes\, \nand the subtle shadows and lines that appear as the composition develops. Through this process\, Grill \noften paints\, scrapes away\, and repaints areas of the canvas\, sometimes many times\, until the final \nwork emerges. In this way\, much like the antique pieces that inspire her\, Grill’s paintings have a life \nand history that exists within the surface. Of this\, Grill says\, “[My paintings] are about secrets; things \nrevealed\, and things buried deep; things fading away; and the subtle\, the slip\, and the in-between.” \n  \nFascinated by the slippage between accidental and planned mark-making\, Margaux Ogden’s abstract \npaintings appear as a tangle of lines\, forms\, and color fields. Her fluid free-form gestures meld with \nmore precise geometric shapes to create a new visual vocabulary that feels at once foreign and \nfamiliar. This sensation is further accentuated by Ogden’s use of color. Inspired by the Minimalist \nembrace of the monochrome\, many of Ogden’s paintings appear as studies into a single color\, \nproduced in various degrees of saturation and dilution across her raw\, unprimed canvas. Drawn in \nparticular to pastel yellows\, pinks\, greens\, the joyful nature of these colors bely the layered and \nintense nature of the creation of the painting itself. Of her work\, Ogden has said\, “One could trace the \ncompositions back to some modernist moment when geometry began to skid. …the spatial and \nperspective shifts create a freefall effect\, dissolving any system beyond which is contained in the \nframe.” \n  \nGary Petersen’s paintings are characterized by an exuberant use of color and hard-edged lines and \ngeometric forms. Seemingly precariously stacked\, these vibrant shapes appear to move subtly within \nthe framework of canvas—prone to topple over at any moment. This spatial interplay and tension are \nin part what makes Petersen’s compositions so visually compelling\, and is achieved through the \nartist’s intuitive approach. To create his works\, Petersen first paints irregular lines and grids\, which he \nthen obscures with a transparent white wash\, creating a barely visible substructure. From here\, he \ndevelops the composition organically\, with one line and shape leading freely to the next\, connected by \nthe composition’s bright\, frequently neon\, colors. Petersen says of his work\, “…there is a range of \nreferences\, from architecture\, cartoons\, advertisements and graphic design… my geometric \nabstraction[s] address…our current predicaments: uncertainty\, imbalance\, and insecurity\, with a bit of \nhumor thrown in.” \n  \nFor his softly-colored abstract compositions\, Matt Phillips draws inspiration from a range of sources\, \nincluding maps\, quilts\, and architectural forms. Phillips’s compositions develop slowly and \norganically as he moves across the canvas\, adjusting and revisiting the colors and the lines until the \nconstellation of the work tightens into a distinct set of spatial relationships. Phillips’s methodical \napproach is captured and accentuated within the work by his use of self-made water-based paint. The \nliquidity of the paint at once allows Phillips to emphasize certain lines and angles\, while also melding \nthe paint with the canvas itself\, producing a single inextricable whole. This is in part what gives his \npaintings a sense of softness. Of his process and inspiration Phillips\, says “I often begin my paintings \nusing similar structures. They share the same bones. But as I work\, they begin to evoke a form or a \nlight or a space. I like that pivot\, when the painting starts to regard something outside itself.” \n  \n— \nAbout Paul Efstathiou \nPaul Efstathiou has worked for nearly 17 years as an art dealer and independent curator. From 2004 \nthrough 2016\, he ran PTE Fine Arts\, an arts consultancy and showroom\, in partnership with his \nbrother\, Eric Efstathiou. In 2016\, he established the exhibition series Highlight Curated\, as a means of \nbringing new attention to and advancing the careers of contemporary artists with whom he’s \ndeveloped deeply-rooted and long-lasting relationships. Efstathiou has produced five Highlight \nCurated exhibitions to-date\, including three with Hollis Taggart\, and featured the work of more than \n20 artists\, including William Buchina\, Ted Gahl\, Brenda Goodman\, John Knuth\, Matt Mignanelli\, \nEsther Ruiz\, and Devin Troy Strother. Efstathiou also previously collaborated with Hollis Taggart on \nexhibitions of works by Michael Michaeledes (2012) and Theodoros Stamos (2008 and 2010). \nEfstathiou is dedicated to nurturing the careers of emerging and under-recognized artists\, leveraging \nhis relationships in both the for and nonprofit sectors to develop their collector and audience bases. \n  \nAbout Hollis Taggart \nFounded in 1979\, Hollis Taggart—formerly known as Hollis Taggart Galleries—presents significant \nworks of American art\, showcasing the trajectory of American art movements from the Hudson River \nSchool to American Modernism and Post-War and Contemporary eras. Its program is characterized \nby a deep commitment to scholarship and bringing to the fore the work of under-recognized artists. \nThe gallery has sponsored several catalogue raisonné projects\, most recently for Surrealist artist Kay \nSage\, and has been instrumental in advancing knowledge of such compelling artists as Alfred Maurer\, \nArthur B. Carles\, and more recently\, Theodoros Stamos\, Marjorie Strider and Michael (Corinne)West. \nIn summer 2015\, the gallery moved its primary location from the Upper East Side to Chelsea. In fall \n2018\, it opened a newly renovated street-level location on W. 26th Street\, a private viewing and \nstorage annex across the street\, and a project space at the High Line. With 40 years of experience\, \nHollis Taggart is widely recognized by collectors and curators for its leadership\, expertise\, and \nopenness\, on matters of art history\, and market trends and opportunities. \n  \n### \n  \nFor more information\, please contact: \nAlina Sumajin / Sascha Freudenheim \nPAVE Communications & Consulting \nalina@paveconsult.com / sascha@paveconsult.com \n646-369-2050 / 917-544-6057
URL:https://artinamericaguide.com/event/highlight-the-high-line-nine/
LOCATION:Hollis Taggart\, 521 West 26th Street\, 1st Floor\,\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20190501T080000
DTEND;TZID=America/Halifax:20190527T170000
DTSTAMP:20260613T132052
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SUMMARY:Hollis Taggart to Examine the Work of Acclaimed Artist Knox Martin in Two Solo Presentations This May
DESCRIPTION:Opening at Frieze New York\, May 1 – 5\, 2019\,\nAnd in a Concurrent Exhibition at the Gallery’s Primary Space in Chelsea\, May 2 – 27\, 2019 \nKnox Martin: Radical Structures to Include New Work by the Prolific 96-Year-Old Artist \nThis May\, Hollis Taggart will present an in-depth exploration of the work of acclaimed artist Knox Martin\, with a solo presentation at Frieze New York and a concurrent solo exhibition at its primary location in Chelsea. Martin’s practice\, which spans nearly seven decades\, has engaged with the conceptual and aesthetic underpinnings of a wide range of artistic movements\, from Cubism to Abstract Expressionism to Pop Art. His use of bright swaths of color\, precise\, architectural lines\, and organic forms that reference the female body have resulted in energetic and vibrant compositions that speak to a visual vocabulary that is entirely his own. \nFor the upcoming edition of Frieze New York\, Hollis Taggart will present a focused selection of paintings\, from the 1950s through the 1970s\, providing an introduction to the artist’s early works. To foster a broader understanding of Martin’s practice\, the gallery will also open Knox Martin: Radical Structures at its 521 W. 26th Street space on May 2\, 2019. The exhibition at the gallery will emphasize in particular Martin’s paintings from the 1960s and 1970s\, and also include several later works\, among which are two new paintings created by the 96-year-old artist in 2019. Knox Martin: Radical Structures will be on view through May 27\, 2019. \nAfter serving in WWII\, Martin enrolled in the Art Students League of New York\, where he studied from 1946 to 1950\, alongside Robert Rauschenberg\, Cy Twombly\, and Al Held\, and later became an instructor. Despite the popularity of Abstract Expressionism\, Martin’s early work of the 1950s challenged the stylistic drippings and splatters of his contemporaries\, and began the singular exploration of figures and objects that would become a fundamental part of his oeuvre. His vision earned him his first solo exhibition at the influential Charles Egan Gallery in 1954\, and established him as a recognized member of New York’s inner art and social circles of the time. A mentor and contemporary to many well-recognized artists\, Rauschenberg once said of Martin\, “You are my mentor. For years I have always asked\, what would Knox think of my paintings?” \nInfluenced by the work of Cezanne\, Goya\, Matisse\, Picasso\, and Willem de Kooning\, Martin’s early paintings were textural explorations\, rendered predominantly in black and white and through the use of bold brushstrokes and geometric lines—as seen in Susanna and the Elders (1953). In an early review\, The New York Times categorized this work as containing a “particular intensity\, both visceral and sensational.” In the 1960s and 1970s\, Martin began a thematic and aesthetic evolution\, best exemplified through his newfound use of color and a growing interest in the female form\, which he juxtaposed with geometric patterns and other organic shapes. As seen in Razberri Breasts (c. 1970)\, Woman with Folded Hands (1973)\, Reclining Woman (1974)\, and Carmen Seated (1975)\, the female form is captured within the circular\, rectangular\, triangular\, disked\, and squared configurations of geometry. Clasped hands\, crossed arms\, bent knees\, and faces appear within all four corners of the \n\n\n\n\n\n\ncanvas\, creating a sensation of the body being locked in a moment of stillness within the surface plane. \nThese geometric metaphors were exhibited in the 1972 Whitney Annual at the Whitney Museum of American Art\, and in the Bonino\, Ingber\, Jack and I. Jankovsky galleries in New York between 1970 and 1978. With shades of blues\, pinks\, blacks\, yellows\, reds\, greens\, and whites\, in combination with dots\, flecks\, arcs\, ripples\, and stripes\, Martin was simultaneously able to create a sense of rhythm and stillness that exudes both playfulness and quietude. Art critic Arthur Danto said of Martin’s paintings\, “[they] were animated by certain internal conversations on the meaning of space\, surface\, painting\, pigment\, reference\, reality and illusion.” \nIt was also at this time that Martin began to receive public art commissions. This included several large-scale mural projects in New York City\, including Venus (original: 1970; remastered: 1998) which can still be partially glimpsed at the corner of 19th Street and 11th Avenue. Experienced in grand scale\, Martin’s use of lines\, curves\, and colors becomes all the more distinctive and complex. \nIn his more recent works\, Martin has returned to a focus on black and white. In one of his latest paintings\, U (2019)\, Martin uses the sharp contrast of black against white to focus on abstract symbols\, letters\, and typography. It is the repetition of the letter “U”\, each character slightly tilted and unequal in scale\, that creates a certain movement and vibration—a reinvention and exploration of form that is distinctly Martin’s. There is a feeling of simplicity\, but also of mathematical precision and complexity in Martin’s new work. It is particularly the use of white space that is most striking\, an absence that contains as much energy as the lettered forms themselves. \nMartin describes the use of white in his paintings as essential\, “everything that is art\, white circulates around it. It is the small spaces in between that fluctuate and provide substance. Without white\, there is nothing.” He also emphasizes the intuitive and instinctive process that has shaped the abstract conception and vision of his career\, “I never know where [the paintings] are going\, they tell me what to do.” \n— \nBorn in Barranquilla\, Colombia in 1923\, Knox Martin moved to New York City in 1927. Since his first solo exhibition in 1954\, solo exhibitions of Martin’s work have been presented widely both in the US and abroad\, including in France\, England\, Switzerland\, Canada\, Spain\, and Germany. His work has also been included in significant group presentations\, such as Some Paintings to Consider (Santa Barbara Museum of Art\, California\, 1964)\, Concrete Expressionism (New York University\, New York\, 1965)\, Large Scale American Paintings (Jewish Museum\, New York\, 1967)\, the Whitney Annual (Whitney Museum of American Art\, New York\, 1967 and 1972)\, Synthetic Realism (Gremillion & Co. Fine Art Inc.\, Houston\, 1986)\, Knox Martin: A Painting Exhibition Spanning a Number of Years (Lighthouse Museum\, Tequesta\, Florida\, 1999)\, Pan American Modernism: Avant- Garde Art in Latin America and the United States (Lowe Art Museum\, Miami\, 2013)\, and The Masters: Art Student League Teachers and their Students (The Art Students League of New York\, 2018). Martin’s work is held in over 40 museums and private collections worldwide. He has received prestigious grants and awards\, including most recently the Benjamin West Clinedinst Memorial Award and the French Legion of Honor. Martin has also led a distinguished career in teaching art\, including his years at Yale Graduate School of the Arts\, New York University\, University of Minnesota\, and The Art Students League of New York. \n\n\n\n\n\n\nAbout Hollis Taggart \nFounded in 1979\, Hollis Taggart—formerly known as Hollis Taggart Galleries—presents significant works of American art\, showcasing the trajectory of American art movements from the Hudson River School to American Modernism and Post-War and Contemporary eras. Its program is characterized by a deep commitment to scholarship and bringing to the fore the work of under-recognized artists. The gallery has sponsored several catalogue raisonné projects\, most recently for Surrealist artist Kay Sage\, and has been instrumental in advancing knowledge of such compelling artists as Alfred Maurer\, Arthur B. Carles\, and more recently\, Theodoros Stamos\, Marjorie Strider and Michael (Corinne)West. In summer 2015\, the gallery moved its primary location from the Upper East Side to Chelsea. In fall 2018\, it opened a newly renovated street-level location on W. 26th Street\, a private viewing and storage annex across the street\, and a project space at the High Line. With 40 years of experience\, Hollis Taggart is widely recognized by collectors and curators for its leadership\, expertise\, and openness\, on matters of art history\, and market trends and opportunities. \n### \nFor more information\, please contact:\nAlina Sumajin / Sascha Freudenheim\nPAVE Communications & Consulting alina@paveconsult.com / sascha@paveconsult.com 646-369-2050 / 917-544-6057
URL:https://artinamericaguide.com/event/hollis-taggart-to-examine-the-work-of-acclaimed-artist-knox-martin-in-two-solo-presentations-this-may/
LOCATION:Hollis Taggart\, 521 West 26th Street\, 1st Floor\,\, New York\, NY\, 10001\, United States
CATEGORIES:Art Fair,Exhibition
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DTSTART;TZID=America/Halifax:20190404T180000
DTEND;TZID=America/Halifax:20190504T180000
DTSTAMP:20260613T132052
CREATED:20190325T164056Z
LAST-MODIFIED:20190420T143506Z
UID:50153-1554400800-1556992800@artinamericaguide.com
SUMMARY:Hollis Heichemer: Happenstance
DESCRIPTION:On April 4\, Hollis Taggart will open its first exhibition of works by artist Hollis Heichemer at its Project Space at 507 W. 27th Street. Titled Happenstance\, the exhibition will include a selection of Heichemer’s vibrant abstract oil paintings\, produced between 2017 and 2019. Happenstance will also include several of the artist’s drawings\, marking the first time her works on paper will be publicly exhibited. An opening reception will be held on April 4\, from 6:00 to 8:00 PM\, and the exhibition will remain on view through May 4\, 2019.
URL:https://artinamericaguide.com/event/hollis-heichemer-happenstance/
LOCATION:Hollis Taggart\, 521 West 26th Street\, 1st Floor\,\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20190314T180000
DTEND;TZID=America/Halifax:20190413T180000
DTSTAMP:20260613T132052
CREATED:20190404T125532Z
LAST-MODIFIED:20190404T125532Z
UID:49394-1552586400-1555178400@artinamericaguide.com
SUMMARY:Norman Bluhm: The '70s
DESCRIPTION:Hollis Taggart is pleased to announce representation of the Estate of Norman Bluhm\, Abstract Expressionist painter (1921-1999). From his early richly-layered canvases to his more structured and vibrant later works\, Bluhm’s paintings are recognized for their compelling evocations of movement and energy. To mark the new collaboration\, Hollis Taggart will present an exhibition focused on Bluhm’s work from the 1970s at its primary Chelsea location at 521 W. 26th Street\, opening on March 14\, 2019. The exhibition\, Norman Bluhm: The ‘70s\, will be accompanied by an essay by the poet and art critic John Yau\, a long-time friend and advocate of Bluhm’s work. \n  \n“Norman Bluhm was an exceptionally gifted painter\, who showed extensively in New York and Europe throughout his career. Despite his artistic achievements\, Bluhm’s full creative trajectory has not garnered the critical evaluation and scholarship it deserves. With the upcoming exhibition—and the others that will follow—we look forward to bringing new audiences and attention to his work\, and in doing so\, supporting a more robust examination and understanding of the artists that participated in and propelled Abstract Expressionism and the movements that have followed\,” said Hollis Taggart. “We have shown Bluhm’s work in numerous group exhibitions over the years\, and are excited for the opportunity to examine and present his work more expansively and with greater focus on his particular vision and techniques.” \n  \nBluhm studied architecture at the Armour Institute of Technology (now the Illinois Institute of Technology) under Mies van der Rohe. Two weeks after Pearl Harbor in 1941\, he enlisted in the United States Army Air Corps and served as a B-26 pilot in World War II. Returning from war\, and no longer interested in architecture\, Bluhm briefly studied fresco painting in Florence. In 1947\, he moved to Paris to study at the Académie de la Grande Chaumière and the École des Beaux Arts under the G.I. Bill. While in Paris he formed relationships with a wide range of artists\, including Alberto Giacometti\, Antonin Artaud\, Sam Francis\, Jean Paul Riopelle\, and Joan Mitchell\, and began following his own artistic path. In 1950\, he married Claude Souvrain\, a French national who was herself a creative spirit. \n  \nHis early work in Paris consisted mostly of delicate line drawings\, depicting still lives\, cathedrals\, rooftops\, nudes and gestural semi-abstract heads. In the early 50s\, he began layering watercolors to create abstract landscapes and seascapes\, and worked with oil on canvas when he could afford it. \n  \nIn 1956\, with little left following the end of his marriage\, Bluhm moved to New York. The following year\, he held his first solo exhibition at Leo Castelli Gallery. During the late 1950s and into the 1960s\, Bluhm showed extensively in solo and group exhibitions in the U.S. and abroad\, and continued to experiment and push the boundaries of free-form expression within his work. In 1961\, he married his second wife\, Cary. \n  \nOver the next three decades\, Bluhm’s work would go through several critical transformations. In the 1970s\, the female form would come to dominate his aesthetic. Strong curving lines and organic forms coalesced with flat fields of color\, ranging from bright violets and pinks to vibrant reds and blues. The mixture of color and form\, along with a flattening of the surface plane\, produced strong sensations of movement\, suggesting in some instances a figure in the throes of metamorphosis and in others a violent collision of elements. “While Bluhm’s earlier works may be better known—perhaps because of their greater visual affinity to Abstract Expressionism—it is these powerful works of the 1970s that capture in particular Bluhm’s tremendous creative vision and capacity. For our first solo presentation of his work\, it seemed fitting that we highlight the aesthetic and conceptual impact and quality of these mid-career paintings\,” Taggart added. \n  \nIn 1969\, Bluhm and his family left New York City\, and a year later settled in Millbrook\, NY\, where they spent the next decade. Pop Art and the social networking of the New York art world pushed him further from the epicenters of activity and some of the acclaim his contemporaries achieved. He continued to show work throughout his life\, however\, and was especially respected in Europe where the tradition of painting remained important. \n  \nIn the 1980s and 1990s\, Bluhm continued to innovate. He incorporated decorative motifs and references to Asian and Indian art in his large-scale triptychs and multi-panel paintings. The last decade of his life he spent in Vermont. His steadfast commitment to gestural and expressive painting remained\, and was now reincarnated within an architectural structure. With every transition in his work he elevated the experience of emotion\, spirituality\, and passion inherent to his nature. \n 
URL:https://artinamericaguide.com/event/norman-bluhm-the-70s/
LOCATION:Hollis Taggart\, 521 West 26th Street\, 1st Floor\,\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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