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longlistshort · 1 year

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Currently at Fredericks and Freiser in NYC is Evening All Day, an exhibition of paintings by Danielle Roberts.

From the gallery’s press release-

In her moody and atmospheric paintings, Roberts explores the various psychological states brought on by her generation’s societal instability. Roberts’ settings – strip mall parking lots, living room sofas, city rooftops, and outdoor parks – are familiar to wide audiences. Yet, when rendered with otherworldly color and dramatic chiaroscuro, they feel transitory and strange. Unstable emotions are communicated through uncanny lighting –both phenomenal and foreboding– and fragmented coloration that coalesces differently across canvases. Some figures are made up of geometric patches of hues that are visually delineated from each other. In contrast, other bodies are made up of a similar patchwork of coloration but by swaths that blur together slightly.

Solitude follows Roberts’ figures as they amble across an urban landscape populated by friends, lovers, and passersby. These transitory moments, at once together yet disconnected, all seem to be anticipating something just out of reach. A cinematic atmosphere bolstered by an artificial light imbues these scenes with Roberts’ signature radiant glow. The vivid and dark mood matches the internal, untethered state of the figures who seem oddly stuck. They wander as if they are perpetually spending their last $20 on another round of drinks.

Roberts does not shy away from discomfort and awkwardness in her worlds. She hones in on the pathos of her own experiences and those of her peers which are at once individual, unique to each of Roberts’ figures, and universal, instantly recognizable to audiences. The artist does not retreat into her painted worlds as an escape from the overwhelming anxiety and instability coursing through contemporary society; instead, she pushes right up against them, opening those spaces onto her audiences. There is an insistence on life and desire, even if those desires are complicated. The people of her scenes – withdrawn and ambivalent – wade through the mess, surviving on their own terms.

This show closes 2/25/23.

#danielle roberts #fredericks and freiser #nyc art shows #painting #fredericks and freiser nyc #art #art shows #moody paintings #dark paintings #ennui

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septembergold · 1 year

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Hannah Lupton Reinhard's Shekinah, Shiksas, And Other Nice Jewish Girls

Fredericks & Freiser, NYC

#hannah lupton #art #fredericks & freiser #nyc

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artsology · 1 year

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“Sleepless,” 2022, by Danielle Roberts from her “Evening All Day” exhibition at Fredericks & Freiser Gallery, on view through February 25th. This is her first solo show in New York, I really liked the work. #danielleroberts #painting #art #contemporaryart #artgallery #nyc #chelsea #fredericksfreisergallery #couple #night (at Fredericks & Freiser) https://www.instagram.com/p/CoFQBuPrU8X/?igshid=NGJjMDIxMWI=

#danielleroberts #painting #art #contemporaryart #artgallery #nyc #chelsea #fredericksfreisergallery #couple #night

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eucanthos · 3 years

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John Wesley (b. 1928)

Birthday, 1990. Acrylic on canvas: 137 x 58 cm (horizontal)

Queen Victoria at Rest, 1989. Oil on canvas: 59 × 167 cm

An Afternoon Sail at the Edge of the World: John Wesley's new solo exhibition at Fredericks & Freiser, NYC March 06, 2020 – Juxtapoz

For more than 40 years the art world has never known quite what to do with John Wesley and the paintings that seem to tumble out of his dreams.

Early on it classified him as a Pop artist, a label that sat uncomfortably. “But I accepted it because it got me into a lot of shows,” said Mr. Wesley, now 92. He has also been called an insurgent Minimalist, largely because of Donald Judd’s admiration for his work and Mr. Judd’s enshrinement of it alongside some of the most important examples of Minimalism at the Chinati Foundation in Marfa, Tex.

The critic Dave Hickey, in an ecstatic essay in 2000, even launched a rear-guard action for Mr. Wesley as a 20th-century extension of Rococo, putting him in the company of Boucher... – NYtimes, 2009

#John Wesley #pop #painting #cartoon #large format #appropriation #sleep #colour #relaxing #resilience #odd #master #contemporary #dog #Queen

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geoffreystein · 6 years

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If you're in Chelsea, don't miss Jocelyn Hobbie's figurative paintings at Fredericks & Freiser (536 W. 24th St.), through Dec 22th. . . . . #geoffreystein #jocelynhobbie @fredericksandfreiser #fredericksandfreiser @artofthisworld__ #painting #oilpainting #naturalism #neoclassical #florals #nyc @nyc #chelsea #chelseagalleries #portraits #figurativeart #woman #studiolife #studioartist #modernart https://www.instagram.com/p/BpxJJh8FEVO/?utm_source=ig_tumblr_share&igshid=1h51kbf6cx61k

#geoffreystein #jocelynhobbie #fredericksandfreiser #painting #oilpainting #naturalism #neoclassical #florals #nyc #chelsea #chelseagalleries #portraits #figurativeart #woman #studiolife #studioartist #modernart

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artsology · 2 years

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“Mexican Movie,” 2002, acrylic on canvas by John Wesley, seen in an exhibition at Fredericks Freiser Gallery in 2018. #johnwesley #painting #couple #art #contemporaryart #chelsea #nyc #fredericksfreisergallery (at Fredericks & Freiser) https://www.instagram.com/p/CgmVtiPAtOR/?igshid=NGJjMDIxMWI=

#johnwesley #painting #couple #art #contemporaryart #chelsea #nyc #fredericksfreisergallery

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longlistshort · 5 years

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Currently at Kasmin Gallery are Matvey Levenstein's paintings (pictured above) depicting scenes from his life in North Fork, Long Island. There's a quiet, peaceful quality to the works, which begin with snapshots before they are turned into paintings. This exhibition closes Saturday 3/2/19.

Across the street at another of Kasmin Gallery's Chelsea locations, and worth a visit, is an exhibition of some of Andy Warhol's polaroid portraits.

Susan Inglett Gallery is showing Slim… you don’t got the juice, an exhibition of work by Wilmer Wilson IV (pictured below). His work with staples may seem familiar from its inclusion in the New Museum's 2018 Triennial: Songs for Sabotage.

From the press release-

Slim… you don’t got the juice presents multidisciplinary departures from familiar modes of figurative representation, as they have evolved in the realm of photographic discourse. Wilmer Wilson IV has developed strategies of redaction and annotation in his work that begin to destabilize the norms of making and viewing portraiture through visual, material, and technical manipulation. An exploration into the complex renderings of individual subject-hood versus object-hood in portraiture, the artist has conceived of a stapled-surface-as-viewing-device that mediates image with material. The device is manifest in a series of staple works that almost fully shroud the photographic subjects beneath dense fields of metal fasteners. The austere, randomized application of the staples onto the surface of each portrait results in a resistance of visual penetration from many angles, complicating access to the underlying figures and deconstructing the voyeuristic inclinations of the viewer.

This exhibition closes 3/16/19.

At Lehmann Maupin's 24th Street location is McArthur Binion, Hand:Work, an exhibition of the artist's grid paintings created with oil paint stick and paper on board (pictured below with close up detail). The patterns created in the work are overwhelming at first glance but then when seen up close, the personal details add a new dimension to the paintings.

From the press release-

...For Binion, his personal documents represent the sum total of one’s social life: relationships, citizenship, vocation, and family life. The revealing and obscuring of these aspects of his life also addresses the larger sociopolitical reality of African-American identity—often obscured or erased from common knowledge, yet always present in tandem with major movements in American culture. In his newest Hand:Work paintings, Binion takes an introspective approach that is more closely aligned with the artist’s own self-perception—effectively, his first self-portraits. Using copies of a photo of the home where he was born, along with a photograph of his hand as the ground layer of the paintings, Binion pares down his identity to its most essential elements. These images are tiled in repeated succession, layered under his repetitious line work in oil stick. These gestures themselves relate to memories Binion has of his early childhood farm life, a disciplined approach to the cyclical, sustained effort he maintains in his work today. Through the insertion of his hand, literally in the photographs, and figuratively in his intricate, overlapping mark-making, the artist relates to his earliest introduction to artistry in his mother’s quilting, a tradition he modified and carried into his practice.

This exhibition closes 3/2/19.

Robert Mann Gallery is showing the newly discovered work of photographer Ed Sievers. The exhibition of black and white photos also includes his later work from the 1970s in Venice Beach. The gallery also has an exhibition of Michael Kenna's series of black and white female nudes made in Japan (not shown). Both shows close 3/2/19.

(Ed Sievers, Untitled (woman in the shadows), c. 1960s, courtesy of the artist, image via Robert Mann Gallery)

Damn! The Defiant, a group show curated by Damon Brandt and Andrew Freiser at Fredericks & Freiser Gallery, brings together "images of rebellion and dissent in contemporary portraiture" and includes a wide variety of work in different mediums from an incredible selection of artists that includes Mary Ellen Mark, Gordon Parks, Dana Schutz, Bruce Davidson, Whitfield Lovell and many more. It's a show that's very appropriate for a time period that is going to require more and more defiance.

From the press release-

Nothing creates projected personal territory more than the emotional push back generated from the recalcitrant expression of a defiant subject. Yet ironically, it is the very nature of this engagement that makes it difficult for the viewer to quickly detach or withdraw from what in fact amounts to an extended glare or moment of social tension. In a time of undeniable anxiety, finding both the common and contrasting ground in the portrayal of defiance speaks directly to the angst and pre-occupation for self-determination that has been and continues to be a pervasive human concern.

This exhibition closes 3/2/19.

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