News

At the Dallas Art Fair this year, April 11-14, the large work on paper Souvenirs from Nowhere: Rovelli's Antelope, 2018, and a bronze sculpture Caput Mortuum: Create Yourself from Darkness, 2018, both pictured, were exhibited in McClain Gallery's booth along side works by Dorothy Hood, Louise Nevelson, Anne Deleporte and Julia Kunin.

Suzy Spence: DEATH RIDER brings together two large-scale paintings and several smaller works by Suzy Spence in an exhibition that continues her exploration of death and sex through the metaphor of drag hunting.

Her largest paintings to date, "The New Yorker (Widow VIII") and "Death Rider (Widow IX)", both 2019, are each nine by twelve feet. These commanding, frontal portraits of sidesaddle riders are rendered from the shoulders up, with equestrian stock ties wrapped tightly around their necks. The women’s veils, composed of black paint drips raining down from Victorian top hats, evoke a macabre update to Alex Katz’s iconic "Blue Umbrella 2" (1972) in which Ada seems to weep with the raindrops. Building on Katz’s graphic approach, Spence combines Frankenthaler-inflected soaking and staining with drawing, using broad, industrial-sized brushes and sponges to achieve an all-over effect with an expressionistic bravado that bids the individual riders to emerge.

In the "Curio" section of Design Miami, December 4-9, 2018, Malcolm James Kutner presented re:construction, "a dynamic collaboration among makers and collectors, this presentation accommodates makers’ preoccupation with creating functional forms and collectors’ fascination with telling aesthetic stories. re:construction not only energizes a cross-disciplinary design dialogue, it also expands our understanding and appreciation of simultaneously formal, intuitive, and malleable relationships."

Derivative 1, 2015, a manipulated antique Chinese rug, was be presented alongside French Reconstruction furniture from René Gabriel, Marcel Gascoin, and Gustave Gautier, as well as a textile by Laura Kaufman, a mirror by Maureen Fullam and Radisay/Szarek, and a site-specific intervention by Aleksandar Duravcevic.

re:construction was presented by Malcolm James Kutner with Simone Joseph of SGJ Fine Art, New York, and with special thanks to Jean-Baptiste Bouvier, Paris.

Suzy Spence – Artist and Curator and the creator of The Online Archive for Womanhouse – and Irina Milahache, Author and Professor of Museum Studies at the University of Toronto, join Coral in an interdisciplinary discussion of the woman's role in writing culinary history.

Under the Night Sky

New York, NY – October 10, 2018 - The Pollock-Krasner Foundation announced today it has awarded $3,905,000 to 125 artists and 25 organizations during its 2017-2018 grant cycle. The 154 grants provide invaluable support to national and international artists and not-for-profit organizations. This year’s grantees and award recipients include artists from 24 states, Puerto Rico, and 14 countries. Through this round of grants, the Foundation has been able to provide critical professional support to artists around the globe, enabling artists to create new work and prepare for exhibitions and residencies. 

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This year hardworking panelists Julia Whitney Barnes (Dutchess), Franklin Evans (New York), Elliot Green (Columbia), Sarah McCoubrey (Onondaga), and Mie Yim (Kings) selected the The New York Foundation for the Arts painting fellowship recipients from a staggeringly large pool of 3,071 applicants. Each artist will receive a cash grant of $7,000, and the three finalists — Jordan Casteel, Clayton Schiff, and Don Voisine — will each receive prestige and a few other benefits, but no funding. In the 32 years that NYFA has been awarding the fellowships, $31 million has been distributed, which sounds like a lot until you consider the economic benefits artists have brought to so many New York communities over the years. The state should consider expanding the program. Here are images and links for the 2018 NYFA grant recipients, some thoughts about the selection, and a bit of advice for painters who didn’t receive funding this year.

Tyler Haughey released his first book of photography, Everything Is Regional, compiling photographs that he has taken since 2010. The book acts as a monograph, examining the threads that run through his work and various projects. Everything Is Regional examines the built environment of northeastern coastal towns and explores how we use, interact with, and remember places designed and known for summer recreation. 

The newly acquired work by Wink Hays will be featured in the museum’s 2019 exhibition, Summer of Painting: Selections from the Museum Collection. This show will be on view at the University of Maine Museum of Art from May 19 – August 31, 2019.