Jasmina Danowski (b. 1960), "Linger in a River for Two," Linger in a River for Two, 2007, ink on paper, 108 x 60 in.
Lisa N. Peters
On July 20, we reported that an exhibition of the vivid abstract works by Jasmina Danowski was the first to be held at the newly renovated Downtown Art Gallery at Westfield State University, Massachusetts. Read more on the Spanierman Modern blog.
FRANK BOWLING (b. 1936), "Resting," 2010, Mixed media on canvas, 25 x 31 inches, Signed, dated, and inscribed on stretcher: 2010 Frank Bowling “Resting”
Spanierman Gallery associate director Christine Berry will be in Jackson, Mississippi, on August 28, 2010 at the Mississippi Museum of Art for their annual exhibition and sale, Art by Choice.
Pictures by Spanierman Modern artists Frank Bowling, Jasmina Danowski and Clifford Smith, as well as by Spanierman Gallery artists Lyell E. Carr, Yin Yong Chun, Sarah K. Lamb and Immi Storrs will be on view and available for purchase. Read the rest of this entry »
Dan Christensen, "Serpens," 1968, acrylic on canvas, 112 x 173-1/2 inches
Lisa N. Peters
We recently received a note from Julie Joyce, curator of contemporary art at the Santa Barbara Museum of Art, letting us know that Dan Christensen’s Rana (1968) has been included the museum’s current exhibition, Colorscope: Abstract Painting, 1960-1979 (on view March 20-August 15, 2010).
Consisting of works mostly from the museum’s permanent collection, the exhibition considers abstract painting in the era when artists shifted their focus from abstract expressionism’s surface manipulation to a new concentration on nuances of color and lighter, more lyrical types of handling. The show brings to the fore such aesthetic modes as post-painterly abstraction, color field painting, lyrical abstraction, hard-edge, and op art. These approaches followed each other in such rapid succession that the critics could barely manage to label them before the artists using them moved on, creating new stylistic variations. As the artists carried on dialogues among themselves in which they rethought old rules and piggybacked on each other’s ideas, they constantly challenged the boundaries of painting. Read the rest of this post on the Spanierman Modern blog.
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Also read these Spanierman Modern blog posts on Dan Christensen:
In the gallery and beyond!
Beyond the Gallery
Betty Parsons (1900-1982), “Tweedle Dum, Tweedle Dee,” 1981, acrylic on canvas, 48 x 66 inches, signed and dated on verso: “Betty Parsons 1981 / Tweedle – Dum / Tweedle – Dee”
The Armory Show (March 4-7, 2010): Stop by Spanierman Modern’s booth at America’s leading fine art fair devoted to the most important art of the twentieth and twenty-first centuries. In its eleven years, the fair has become an international institution. Spanierman Modern will be showing works by Betty Parsons, whose original and distinctive artistic voice, often overlooked due to the attention given to her role as an illustrious art dealer, has finally in the last decade begun to receive the appreciation it long deserved.
Find us at Pier 92 | Booth 150
Please note: Until March 13 Spanierman Modern has on view Journeys: The Art of Betty Parsons, which focuses on the relationship of her paintings and sculptures to her travels in America and abroad.
Architectural Digest Home Design Show (March 18-21, 2010): Designers! Stop by the Spanierman Booth at the Ninth annual Architectural Digest Home Design Show. Associate Director David Major will be in attendance to answer questions about the gallery and our work with designers. Read the rest of this entry »
Charlotte Park (b. 1918), "Zachary," ca. 1950s-60s Oil on canvas, 36 x 47 inches
Lisa N. Peters
Of the more than 130 international exhibitors at the Fifteenth Annual Los Angeles Art Show, on view January 20-24, 2010, Spanierman Modern’s exhibition of the dynamic abstract paintings of Charlotte Park was one of few displays that caught the eye of Christopher Knight, art critic for the Los Angeles Times. In a blog post on January 22, Knight described the quality of the fair as “disappointingly low,” but noted that “if you poke around you can find some things to like.” Of the five examples Knight gave, four were individual works: an abstraction from 1968 by Robert Mangold’, an installation by Meeson Pae Yang, a video by Pablo Uribe from “guest country” Uruguay, and a painting by Henrietta Shore. The only exhibition mentioned by Knight was that of Park of whom he wrote:
Charlotte Park (b. 1918), a little-known Abstract Expressionist painter from New York, has been enjoying a resurgence of interest in her works of the 1940s, ’50s and ’60s. A large selection of muscular, often chromatically brilliant paintings on canvas and paper show why. (Spanierman Modern)
Read the rest of this post on the Spanierman Modern blog.
When we were helping the Kemper Museum of Contemporary Art in Kansas City, Missouri, in organizing the retrospective of the work of Dan Christensen that opened there last May, it emerged that a group of paintings Christensen created from 1969 to 1971 stood out and were different, or so it seemed. . . .These large (many wall-size) geometrically conceived canvases with discreet flat areas of color, appeared a departure in Christensen’s oeuvre from the freeform spray gun works that preceded them as well as from his later work, in which he pushed automatist methods with the spray gun to their limits in blurred circles, infinite lozenges, swirling ribbons, and rich drizzle marks that seem to ricochet off the surface. The paintings with their clean horizontal and vertical stripes drew the attention of everyone who saw them, maybe because instead of having the stillness of so much hard-edged geometric painting, they seemed to project a glowing energy. Read the rest of this post on the Spanierman Modern blog.
View the Exhibition Online.
