Noteworthy Events

March 16, 2010 — Katherine Bogden

In the Gallery and Beyond

Teo Gonzalez, Drawing 237

Teo Gonzalez, "Drawing 237," 2010, mixed media on paper, 12-1/4 x 12-1/4 inches, signed, dated and inscribed on verso: "Teo / Drawing 237 / 2010"

IN THE GALLERY:

Spanierman Modern: From March 23 to April 24, 2010 Spanierman Modern will present Teo González, an exhibition of twenty-two new works in oil and mixed media on canvas and paper by the Spanish-born artist, who moved to the United States in 1991. While retaining his minimalist approach, González’s new work represents a conscious shift in his art. According to the artist, “After eighteen years of attempting to control weather and physics, I decided to take a year off to step back and think of how to make my work more efficient. After a few months I realized that I had to change the process. I decided to eliminate the drops and to paint them instead. This has been a fascinating twist for me.”

A catalogue accompanying the exhibition includes an interview with the artist and color illustrations of eight works in the exhibition.

Please Note: an opening for the artist will be held Tuesday, March 23 from 6 to 8 pm. Read the rest of this entry »

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Ashcan School – Part II

September 29, 2009 — Spanierman Gallery, LLC

Arthur Bowen Davies
Children Playing, ca. 1896
Oil on canvas, 18 x 22 in, Lisa N. Peters
(Read Ashcan School-Part I and Ashcan School-Part III)
Controversy and question: so . . . where did the term “Ashcan School” originate from? Most scholars seem to agree that it appeared long after the heyday of the group, surfacing first in the 1934 book Art in America in Modern Times by art dealer Holger Cahill and art historian Alfred H. Barr, who used it to describe the derision with which the Eight’s 1908 Macbeth Galleries show was received. Cahill and Barr wrote that “in retrospect [the Eight’s] program seems moderate enough, but when they first showed as a group in New York in 1908, they were anathematized as ‘the Ashcan School’ and ‘the Revolutionary Black Gang.’” William Innes Homer in Robert Henri and His Circle (1969, Cornell University Press) says that it was Cahill who probably came up with the term, having heard it in a derisive statement made around the time by the cartoonist Art Young toward the earlier works of Sloan and others, which Young was contrasting negatively with the more socially conscious art of the then contemporary Regionalists. However, and a big however . . . Read the rest of this entry »
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Ashcan School – Part I

September 25, 2009 — Spanierman Gallery, LLC
Lisa N. Peters
(Read Ashcan School-Part II and Ashcan School-Part III)
 Focus on the Ashcan School. . . . hmm. We currently have an online Ashcan School show on our website, so the question came up of what exactly is the Ashcan School????I will try to answer this question as succinctly as possible in a three-part post series.

This so-called “school” refers to a group of artists who painted gritty, vital views of many strata of New York City life in the early twentieth century.

Yet there’s a problem: the Ashcan School was not only never literally a “school,” but it also never consisted of an organized group of artists. Because of this, to my mind, it seems more reasonable to use the term “Ashcan School” to refer to works that fit certain criteria associated with this school rather than to try to assign this label to certain artists. Read the rest of this entry »

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