Ameringer | McEnery | Yohe is pleased to announce its participation in this years
Art | Basel | Hong Kong.

for more information click here: hongkong.artbasel.com

Painting Two: The thick of it

Kevin Appel, Basil Beattie, Alexis Harding, Noel Ivanoff, Jeena Shin, Rohan Wealleans

Two Rooms presents an exhibition celebrating the power of a material once basic to the artist: paint. At times neglected in an era of video, installation and conceptual art, paint has not gone away. All the artists in this group have a strong engagement both with its physical properties and its transformative potential.

Painting in Place is a group exhibition of contemporary painting which will be presented in the historic Farmers and Merchants Bank in Downtown Los Angeles (401 South Main Street Los Angeles, CA 90013).

The exhibition will present a wide array of work from contemporary artists that tackle painting from various perspectives, using both traditional and unconventional techniques and media in their approach to the discipline. Exploring various ways sculpture, and installation: blurred, deconstructed, and refigured.

New York, New York - Ameringer | McEnery | Yohe is pleased to announce its representation of Kevin Appel.

Appel's inaugural exhibition with the gallery will open in the spring of 2014.

Rod Penner's hyperrealistic acrylic painting "Central Motel / Des Moines, NM" will be exhibited in a group show at the Museu del Tabac in Sant Julià de Lòria, Andorra. The exhibition will open on 13 June and will remain on view through October 20th, 2013.

By Karen Wilkin

Known best as an inspiring teacher before coming to America, he continued to teach in the U.S. and to codify the principles of his teaching in his writings, exerting considerable influence. The alumni of Hofmann’s Eighth Street school include such notable figures as Michael Goldberg, Alfred Jensen, Wolf Kahn, Lee Krasner, Robert de Niro Sr., Red Grooms, Paul Resika and many more. Hofmann’s lectures on art had a profound effect on some of the most significant members of the New York cultural scene; Arshile Gorky attended them and the critic Clement Greenberg always said that hearing Hofmann’s talks in 1938-39 was vital to the formation of his own uncompromising aesthetic. Yet engaged as Hofmann continued to be by teaching and writing after leaving Germany, and influential as his instruction and theories were, the most notable aspect of his American years was his refinding of his original identity, not as a teacher and theorist, but as a deeply engaged maker of art and a master manipulator of color.

“Reinvigorating” is a mild word for what Iva Gueorguieva does in her large works, which combine collage, drawing and painting with nearly a dozen printmaking techniques. Those were developed, of course, to make multiples copies of a single original. But “Reinvigorating Prints,” at George Washington University’s Luther W. Brady Gallery, features one-of-a-kind works. The L.A. artist’s pieces are not finished when pulled from the press; she adds scraps of paper or fabric and garnished freely with ink, watercolor and oil and vinyl paint.

Iva Gueorguieva: Reinvigorating Prints will feature several large multi-media prints, completed at Graphicstudio, University of South Florida, that adapt the complicated and spontaneous nature of the artist’s paintings. Gueorguieva’s prints have been described as “pushing printmaking past its usual comfort zone. Spatially mesmerizing, kinetic and gestural.”

The monoprints are unique works of art, employing an “encyclopedic” array of processes including direct gravure, spitbite aquatint, drypoint, woodcut, lithography and silkscreen. The prints will be shown along with three collages that have been painted and drawn on, including one that employs recycled material from the printing process.

Gueorguieva has had solo exhibitions at BravinLee programs, New York; LUX Art Institute, Encinitas, Calif., Angles Gallery, Santa Monica, Calif., Contemporary Art Museum, University of South Florida; Outline, Amsterdam, Netherlands, and Electric Works, San Francisco. She also has an upcoming solo show at Galerie Stefan Röepke in Koln, Germany. Her work is included in the collections of the Los Angeles County Museum of Art, the Minneapolis Institute of Art and the Museum of Contemporary Art, Los Angeles.

Her prints are courtesy of the USF Contemporary Art Museum and a private collection and her collages are courtesy of Ameringer | McEnery | Yohe, New York, NY.

Q+A with Kevin Appel
By Jill Singer

In the long list of ways that New York differs from Los Angeles, we’ve always been particularly fascinated by one: New York can be a very physically demanding place to live, but it is not a difficult city to understand on a psychological level. In Los Angeles, the living is easier, but there seems to be – especially among artists – a constant grappling to define and understand LA as a place. LA artist Kevin Appel explains it this way: “Los Angeles has always had a bit of an identity crisis partially due to the external view of LA as having this superficial mentality tied to the film industry. It doesn’t have a long lineage of a canonical or intellectual history, as opposed to New York.” He should know: Appel is a native Angeleno who has called the city home for almost his entire life – save for a brief stint at Parsons for his BFA – and he’s been steeped in the city’s history and vocabulary since birth. Growing up, his father was an architect and his mother an interior designer, so it makes sense that the city’s structures and surroundings would eventually become his subject matter.

Venice: 26 May - 8 September 2013
New York: 27 September 2013 - 5 January 2014

Devoted exclusively to papier collés and related works on paper from the 1940s and early 1950s by Robert Motherwell, this exhibition features nearly sixty artworks and examines the American artist's origins and his engagement with collage. The exhibition also honors Peggy Guggenheim's early patronage of the artist. At her urging, and under the tutelage of émigré Surrealist artist Matta, Motherwell first experimented with the papier collé technique. He recalled years later: "I might never have done it otherwise, and it was here that I found...my 'identity.'" By cutting, tearing, and layering pasted papers, Motherwell reflected the tumult and violence of the modern world, establishing him as an essential and original voice in postwar American art. Motherwell initially produced both figural and abstract collages, but by the early 1950s Surrealist influences prevalent in these first works had given way to his distinctive mature style, which was firmly rooted in Abstract Expressionism. "Robert Motherwell: Early Collages" will be presented at the Peggy Guggenheim Collection, Venice, May 26 - September 8, 2013, before traveling to its second and final venue, the Solomon R. Guggenheim Museum, September 27, 2013 - January 5, 2014. This exhibition is organized by Susan Davidson, Senior Curator, Collections and Exhibitions, Solomon R. Guggenheim Museum.

By: Karen Wilkin

The late Helen Frankenthaler famously "departed" from Jackson Pollock with her early stain paintings in the 1950s, but she kept on making departures for the rest of her long, innovative career.

When Helen Frankenthaler died in December 2011, two weeks after her 83rd birthday, most tributes to her invoked "Mountains and Sea," the delicately colored, luminous stain paintings that she made in 1952, as a precocious 23-year old, a work that has come to define her almost as narrowly as "The Scream" defines Edvard Munch. Just about every article recounted, as well, the story of the powerful effect "Mountains and Sea" had on Morris Louis and Kenneth Noland, when they saw the picture in Frankenthaler's studio on a 1953 visit to New York, almost everyone quoted Louis' description of the seminal painting's young author as "the bridge between Pollock and what was possible."

Esteban Vicente died in 2001, having lived to the ripe age of ninety-seven and worked to the end. It was not a bitter end, as his last paintings – thirteen of which were on view in this exhibition – indicate. Made between 1998 and 2000, these bright, colorful abstractions were inspired by the artist’s garden in Bridgehampton, New York, where he lived and worked. Among the flowers he planted were phlox, helianthus, foxgloves, daisies, and morning glories, all apparently in great abundance and carefully cultivated. Registering the effect of sunlight hitting the blossoms, the paintings are a sort of tachistic patchwork of quietly lyrical, atmospheric hues, sometimes amorphously spreading, sometimes striking and concentrated, like the red patches that suddenly appear as spontaneous accents in "Untitled," 1999.

The Review Panel: An Evening of Critical Conversation About Art

Ellie Bronson, Jonathan Goodman and John Yau join moderator David Cohen to discuss Tam Van Tran, Ameringer | McEnery | Yohe; Shinique Smith, James Cohan Gallery; Ragnar Kjartansson, Luhring Augustine; and Bernard Frize, Pace Gallery.

National Academy Museum, 1083 Fifth Avenue at 89th Street, New York from 6:30 to 8:00 PM.

New York, New York - Ameringer | McEnery | Yohe is pleased to announce a solo booth of work by Tam Van Tran at The Art Show, organized by the Art Dealers Association of America (ADAA) at the Park Avenue Armory, Park Avenue at 67th Street, New York, from 6 - 10 March. Gala Preview on 5 March.

In "Leaves of Ore II," Tam Van Tran begins with fragments such as porcelain shards that evoke memories of ceramic jars his mother used in Vietnam to make fish sauce and copper sheets that lift with air currents like palm fronds in the California Santa Ana winds. The fragments include found objects, cardboard and palm leaves as well as natural materials, clay, paint and paper. The materials come together and embody Tran's recalled experiences of bombs floating onto shore, villagers fishing with grenades, and intermittent evacuations. Acutely aware of himself as a Vietnamese-American absorbing both Eastern and Western cultural influences, Tran is an artist who actively considers, explores, and expands painting concepts.

"Magnum Opus," an exhibition of works by Hans Hofmann, will open in Germany at the Museum Pfalzgalerie Kaiserslautern on 8 March and will remain on view through 16 June 2013.

Hans Hofmann trained in Munich and Paris, where he met artists such as Pablo Picasso, Georges Braque, Juan Gris and George Rouault. The German-born Hofmann fully established himself as an artist in the United States in the 1930s.

In 1930, Hofmann traveled to the United States, and until 1932 he taught at the University of California, Berkeley, and the Chouinard Art Institute in Los Angeles. Hofmann moved to New York in 1932 and taught at the Art Students League before opening the Hans Hofmann School of Fine Arts in 1933. With highly successful art schools in New York and Provincetown, he exerted a lasting impact on an entire generation of American artists of the postwar period. Hofmann was the catalyst of the Abstract Expressionists and influenced painters such as Jackson Pollock, Helen Frankenthaler, Lee Krasner, Philip Guston, Robert Motherwell and Barnett Newman.

The Happy Medium
By: Leah Ollman

Ceramics are undergoing a revolution in the contemporary art world - but nowhere more so than in Los Angeles, where clay has a particularly resonant history.

Hyperrealism: 1967-2012

In the late 1960s, the USA saw the emergence of a new trend in painting that focused on the realistic representation of scenes and objects from everyday American life. The artists involved always used photography as preliminary documentation for their works. This movement achieved its first recognition when it was shown at Documenta in Kassel in 1972. The exhibition to be held at the Museo Thyssen-Bornemisza in 2013 will offer the first complete survey of Hyperrealism. It will start with the great American artists of the first generation such as Richard Estes, John Baeder, Robert Bechtle, Tom Blackwell, Chuck Close and Robert Cottingham, then move on to Hyperrealism in Europe and to artists of subsequent generations. Many of the works on display will be loaned from the collection of Louis K. Meisel, whose gallery has become the focal point of the movement. Meisel promoted Hyperrealism from its outset both within and outside the USA, supporting and discovering new artists. His gallery continues to be the key reference point for this trend today.

22 March - 23 June 2013

"Pattern: Follow the Rules" looks at new definitions of the well-worn art historical terms Pattern and Decoration, presenting an international group of artists who contend with the different roles these elements have played across a range of cultural contexts in history. Today, new technologies, including digitization and computer programming drive artists' abilities to innovate form and materials and there is a marked movement afoot in artists' use of science, math, and technology to generate forms. Here, the definition of pattern is more akin to a mathematical pattern than a decorative one, though often the result veers into the language of rhythmic decoration. Importantly, these artists abandon (at least in part) traditional modes of using the hand and the mind in making aesthetic judgments, instead setting up a system of rules or a mechanical system to generate final form - a new way of conceiving of the relationship between form and content.

The Las Vegas Art Museum's Collections comes back "Into the Light"

So there it was. Amid the single-serving shrimp cocktails, bite-sized quiche, wine, hugs, polite conversations, photo-ops, artists, writers, gallerists and well-heeled art collectors, lived the one single truth: We've been given another chance.

Through careful negotiation, more that a year of planning and a major revamping of UNLV's Barrick Museum, the partnership between the Las Vegas Art Museum and the university's College of Fine Arts came to fruition Tuesday night at the reception for "Into the Light," featuring a large chunk of the Las Vegas Art Museum's permanent collection.

The Dedalus Foundation: Printing a Catalogue Raisonné

In May of 2012, Jack Flam, Katy Rogers, and Tim Clifford traveled to Verona, Italy to complete their decade-long project of researching and publishing "Robert Motherwell Paintings and Collages: A Catalogue Raisonné, 1941-1991." Over the course of a month, the three authors worked with master printers at Trifolio, overseeing the printing process of the three-volume set. This video follows the finishing stages of production on the catalogue raisonné from proofing the color to binding the final product.

L.A. Louver is pleased to present an exhibition of computer drawings created in 1969 by Frederick Hammersley (1919-2009). Hammersley used early computer technology to make these drawings, a process that became pivotal to his artistic development.

The Logan Collection at the San Francisco Museum of Modern Art

Showcasing nearly 40 major works from the 1960s to the 1990s, this exhibition celebrates the 15th anniversary of a gift of contemporary art from renowned collectors Vicki and Kent Logan that took SFMOMA's collection in bold new directions. The presentation spotlights pieces by Chuck Close, Philip Guston, Anselm Kiefer, Bruce Nauman, Gerhard Richter, Ed Ruscha, and Andy Warhol that form the foundation of the Logan collection. It also brings together artists working in New York in the 1980's, such as Jean-Michel Basquiat, Felix Gonzaelz-Torres, Jeff Koons, and Cady Noland; "Young British Artists" like Tracey Emin and Damien Hirst; and Chinese and Japanese artists including Gu Wenda and Takashi Murakami, for a gathering of late-20th-century art that is stellar in quality and distinctively international in perspective.

By Rebecca Campbell

On January 13, 2012, Josephine Valentine and Andromeda Jane were born at 33 weeks and five days old. Thirty-three weeks isn’t very premature these days in the world of prematurity, so I expected they may spend a month in the NICU and then we would welcome them to our chaotic, happy home. That wasn’t our story.

The Lookout: A Weekly Guide to Shows You Won't Want to Miss

With an ever-growing number of galleries scattered around New York, it's easy to feel overwhelmed. Where to begin? Here at A.i.A., we are always on the hunt for thought-provoking, clever and memorable shows that stand out in a crowded field. Below is a selection of current shows our team of editors can't stop talking about.

Suzanne Caporael at Ameringer | McEnery | Yohe, through Dec. 22
The various ways we mediate our world have long been the concern of painter Suzanne Caporael, who can give the most esoteric taxonomies for processing nature, in particular, a lyrical twist. Her means are whatever it takes - be that abstraction or representation, leaving her "signature style" tricky to summarize. In her multifaceted show "Seeing Things," she considers the gap between perception and cognition in angular and gridded abstractions, delicate landscapes and veiled allusions to such masterpieces as Cezanne's portrait of his wife and Watteau's "Pierrot."

Booth H-03

Ameringer | McEnery | Yohe is pleased to announce our participation in this years Art Basel Miami Beach.

Norman Bluhm's passionate, mystical art kept evolving, decade by decade.
By: John Dorfman
November 2012

Norman Bluhm is the greatest Abstract Expressionist painter you've never heard of. Or if you have heard of him, you're part of a select group of aficionados who appreciate the multifaceted, challenging work of a painter who refused to be pinned down to any one school or style and kept working regardless of the shifting tides of the market and art-critical opinion.

Esteban Vicente’s death in 2001 at the age of 97 marked the passing of one of the last surviving members of the first generation of New York School painters. He arrived in America in 1936, schooled in the old world academic tradition of his native Spain and fresh from a sojourn in the heady milieu of 1920s Paris.

by Elaine De Kooning, originally appeared in February 1950

"Making a picture is almost a physical struggle," says Hans Hofmann, whose prodigious nervous energy is communicated in the expanding dimensions and exuberant colors of his abstractions. Working with astonishing speed, never sitting down, constantly in motion between his palette and his easel, applying his paint with broad, lunging gestures, Hofmann often finishes a painting in a few hours.

click here : www.anthonymeierfinearts.com

Anthony Meier Fine Arts is pleased to present an exhibition of new works by Rosana Castrillo Diaz. In her third solo show at the gallery, Castrillo Diaz debuts a series of three-dimensional wall works that continue parallel dialogues with light and shadow, visibility, surface and materials.

November 10, 2012

Imagine someone traced their finger in the snow, switching between communicating a secret message and showcasing seemingly random scribbles. Now replace snow with gobs of gray oil paints, and you have the work of Liat Yossifor.

Liat Yossifor gets up very early and paints by natural light, details that gain significance once you know she works on Hollywood Blvd -- prone to late night revelry and not known for really anything natural at all. On her doorstep, as you wait to be buzzed in and up to her studio, you can have your picture photo-shopped into a picture with Lady Gaga in the adjacent bodega. Hotdogs rotate on a spit. On your right and left are the stars of Dennis Day and Cathy Downs, two names distant enough to be a lesson in how quickly fame fades. Downs was once Clementine in "My Darling Clementine," which I only know as the film that gets interrupted during an episode of M.A.S.H. It was Colonel Potter’s favorite movie. The star directly in front of Yossifor’s building is blank.

...Hofmann has evolved no rules for the making of a picture. On the contrary, always on guard against intellectualism and virtuosity, he says: "At the time of making a picture, I want not to know what I'm doing; a picture should be made with feeling, not with knowing. The possibilities of the medium must be sensed. Anything can serve as a medium - kerosene, benzine, turpentine, linseed oil, beeswax...even beer," he adds jokingly.

Now, on to the shows at hand. There's definitely been a buzz about "Judy Pfaff" at Robischon Gallery, a spectacular in-depth solo stretching into several of the exhibition rooms at the remarkably capacious venue. It is every bit as gorgeous as "El Anatsui" over at the DAM - and that's really saying something.

There is something ineffably comforting about "To Be a Lady," the exhibition curated by Jason Andrew and subtitled "Forty-Five Women in the Arts." The second time I visited the show, on a misty, autumnal afternoon, the light-filled bays at 1285 Avenue of the Americas seemed to lead back to a once intimate, now forgotten place.

As part of the museum's 50th anniversary celebrations, OC Collects presents curated selections from more than a dozen of the most important private collections in our community. Since the museum's founding in 1962, collectors in Orange County have been among the most supportive and adventurous champions of modern and contemporary art, although this is little known or acknowledged within the broader artworld. The exhibition will include major paintings, sculptures, photographs and videos ranging from classic modern works to emerging artists of the present moment.

By Christopher French

Los Angeles-based critic David Pagel grouped six painters and three sculptors from the West and East coasts inspired by the "Stone Soup" fable, titling it "Stone Gravy." Exhibiting the austerity of abstract formalism (represented by stone), leavened and enriched by sensory overloads of color, texture, and pattern (standing for the gravy), were the painters Brad Eberhard, Annie Lapin, Kim MacConnel, Allison Miller, Richard Allen Morris, and David Reed. Sculptors Polly Apfelbaum, Ron Nagle, and Matt Wedel, by contrast, argued for expanding sensory delight beyond the strictures of wall-mounted rectangular planes.

Rod Penner's hyperrealist paintings will be exhibited in a six-venue museum exhibition titled "Painted Illusions: Hyperrealism 1967-2012."

The exhibition begins in Tubingen, Germany at the Kunsthalle Tubingen and will be there from 8 December 2012 to 10 March 2013.

11 September - 27 October 2012

Planning and Spontaneity in Art
A Lecture by Wolf Kahn at the Brattleboro Museum & Art Center
7 October 2012

Wolf Kahn is a leading figure in American art. His rich, expressive body of work represents a synthesis of his modern abstract training with Hans Hofmann, the palette of Matisse, Rothko’s sweeping bands of color, and the atmospheric qualities of American Impressionism. Kahn has received many honors and awards, and his work is held in the collections of major museums worldwide.

click here: www.brattleboromuseum.org

This exhibition is the Provincetown Art Association Museum's first major exhibition of Robert Motherwell's work created in the summer of 1942 in the artist's studio in Cape Cod, curated by Lise Motherwell and Dan Ranalli.

click here : www.paam.org

Abstract Drawings presents a selection of forty-six works on paper from the Smithsonian American Art Museum’s permanent collection that are rarely on public display. From simple sketches to highly finished compositions, these works represent the rich possibilities of abstraction as a mode of artistic expression.

click here : www.americanart.si.edu

Curated by Jason Andrew
Organized by Norte Maar
Sponsored by the ownership at 1285 Avenue of the Americas

Norte Maar and the 1285 Avenue of the Americas Art Gallery announce the exhibition To be a Lady: Forty-Five Women in the Arts, on view at the 1285 Avenue of the Americas Art Gallery from September 24, 2012 through January 18, 2013. A reception, open to the public, will be held on Monday, September 24 from 6-8pm.

Balancing intense planning with improvisational decision-making, Judy Pfaff creates sprawling sculptures and installations that weave landscape, architecture, and color into a tense yet organic whole. A pioneer of installation art since the 1970s, Pfaff synthesizes sculpture, painting, and architecture into dynamic environments, in which space expands and collapses, fluctuating between the two- and three-dimensional achieving lightness and explosive energy.

This fall at the UAM, Patrick Wilson will present new and recent geometric abstract paintings. In his meticulous yet sensual, nearly sculptural canvases, Wilson weds color to structured shapes in intricately layered and overlapping transparent rectilinear scrims and narrow lines of acrylic paint. These artworks are meant to be experiential. Duration, the real time of conscious experience, is an essential aspect of his practice. He invokes duration both in his acts of creative “unfolding” as they transpire in the studio and in his expectations about viewers’ subsequent reception and interpretation of his artwork.

Western Project is proud to present our second exhibition of paintings by Thomas Burke. Originally from Boulder City, Nevada and a graduate of University of Nevada at Las Vegas, Burke has been a resident of Brooklyn, New York since 2005. As a cerebral painter, this body of work continues his interest in systems, minimalism, and Op Art from the 1960s and 70s; with the computer as a drawing tool, his images also explore contemporary graphic design, digital technology and the history of hard-edged abstract, geometric painting.

This juried exhibition will provide a rare opportunity for PNCA and the broader Portland cultural community to see the scope of contemporary art, craft, and design by alumni from PNCA’s Bachelor of Fine Arts, Master of Fine Arts, and Continuing Education certificate programs.

What’s more, it offers the viewer the opportunity to become an institutional archaeologist, to dig down through the accumulated strata of object, image, and idea to get at the cultural DNA of the College.

For alumni, it is an appropriate homecoming. The mater in alma mater doesn’t translate as “mother” for nothing. How long has it been since you visited your mother? Would she even recognize you?

click here : www.pnca.edu

Including 38 works spanning Judy Pfaff's career, from early works on paper to contemporary paper collages, installations and sculpture.

click here : www.hmoa.org

Local Color is drawn from the San Jose Museum of Art's permanent collection and explores the privacy of color in a range of works. This exhibition encourages viewers to look at color as content and features the work of Josef Albers, Fletcher Benton, Ellen Carey, Mary Corse, Tony DeLap, Sam Francis, Sonia Gechtoff, James Hayward, Paul Jenkins, Amy Kaufman, Markus Linnenbrink, Nathan Oliveira, Raimonds Strapans, Amy Trachtenberg and Patrick Wilson, among others.

click here : www.sjmusart.org

by Leah Ollman

Once inside a painting by Iva Gueorguieva, it's hard to leave. It's hard to want to leave. The surfaces, colors, shapes all clamor for attention, whisking the eye on a brisk, pinball course in disparate directions, then granting it moments of reprieve, small sanctuaries of brooding beauty.

A hypothetical touring exhibition of one-night-only presentations – each in a different country, 12 in all, over 80 days - that will showcase the original LA based artists selected and adding a new artist from each location worldwide where the exhibition was to be presented. The original project was cancelled due to logistical funding issues and this show is a response to the financial difficulties affecting artists and their ability to exhibit abroad in economically challenged times.

One usually associates the name of Wolf Kahn with New England landscapes, but his economically painterly treatment suits the urban fabric as ably. Ameringer McEnery Yohe has put together a show of his New York images to prove it.

Los Angeles painter Patrick Wilson presents a magnificent new body of his brilliantly constructed, abstract acrylic on canvas paintings in his highly anticipated third solo exhibition Slow Motion Action Painting at Marx & Zavattero, June 2 - July 14, 2012. Wilson’s paintings are conceived with the ideas of beauty and pleasure at the forefront. As the title of the exhibition suggests, Wilson is inviting his viewers to enter the gallery, and then consciously slow down in order to actively experience his work in the same manner in which it was created.

Susanne Vielmetter Los Angeles Projects is pleased to present new paintings and three-dimensional works by Iva Gueorguieva in galleries 3 and 4.

Gueorguieva's work, while simultaneously indebted to the history of gestural abstraction and distancing itself from that history, is committed to the idea that gesture in painting can carry information that is neither simply graphic nor subjective, but that this gesture can have an active relationship with the real world.

EST–3 focuses on Los Angeles art in the New York collection of Beth Rudin DeWoody. Its title (Eastern Standard Time Minus Three) is a playful rejoinder to Pacific Standard Time: Art in L.A. 1945-1980, a Getty-initiated series of more than 60 exhibitions across Southern California that examines the emergence of Los Angeles as an art center. Starting on the opposite end of the country, and looking across three time zones, EST–3 avoids the tempestuousness of local dramas and the hyperbole of hometown boosterism to present a cool, wide-ranging view of art made in Los Angeles over a 40-year period of unprecedented development.

click here : www.parrishart.org

Complicating things does not necessarily enrich them. But the newly complex work of Los Angeles painter Patrick Wilson at Marx & Zavattero extends the range of subtlety and ambiguity that has always given his art substance.

The Directors of Ameringer | McEnery | Yohe would like to congratulate Iva Gueorguieva on receiving the 2012 Fellowship from the Orange County Collectors Organization.

New York, New York - Ameringer | McEnery | Yohe is pleased to announce its representation of Tam Van Tran.

Tran’s inaugural exhibition with the gallery will open on 14 February 2013 and run through 16 March 2013.

Special Reception and Lecture:
With esteemed Motherwell scholar, Mary Ann Caws
Thursday, May 10, 2012 at 7:00 p.m.

Prints rarely receive the same attention as paintings. Yet printmaking is a demanding medium, one that requires extensive technical knowledge and collaboration. Robert Motherwell was unusual among his Abstract Expressionist contemporaries because of his interest in and mastery of printmaking.

This mini-survey of Kim MacConnel's unstretched fabric paintings from the 1970s, and a terrific one from 2004, is the first of four shows at Salomon this spring collectively titled "American Responses: Pleasure, Reverence, Heart, Home." The successive exhibitions feature work by MacConnel, Ned Smyth, Dickie Landry and Tina Girouard, artists from different parts of the country who were making seminal work in the 1970s and '80s, and who are still active.

NEW YORK An exhibition of work by the under-known New York School painter George McNeil (1908–1995) is always a cause for celebration. This one was of particular interest, centering as it did on a group of canvases made between 1960 and 1968, when McNeil began to introduce figural elements into his abstract compositions.

A contemporary of Jackson Pollock, McNeil was less famous than some of his Abstract Expressionist peers, and became even less so as the decades passed. He had a long and respectable career, nevertheless. In the 1930s, after studying with Jan Matulka and Hans Hofmann, McNeil cofounded the American Abstract Artists group. In the early 1950s, he was among Charles Egan Gallery’s original stable of artists, which also included Willem de Kooning—who was a fan—and Franz Kline. McNeil’s paintings from this time resemble satellite images, with fat, snaking lines like rivers or roadways enclosing heavily worked areas of color. By the 1960s, these topographies gave way first to discrete central forms and then to abstracted human figures.

These small collages are composed by the painter as studies for her larger canvases, but it’s hard to imagine that their successors could trump them in terms of spontaneity or sheer joie de vivre. Made from pieces of newsprint, in saturated hues of magenta, lime, orange, and navy, they are winningly simple with a powerful graphic punch—the abstract cousins of Saul Bass’s posters circa “Anatomy of a Murder.” But that mod sixties vibe is belied by the newspaper dates; the oldest is from 2008. Through April 21.

click here : www.newyorker.com

Royale Projects opens an exhibition featuring two Los Angeles based artists that create powerful works, atypical of west coast abstract paintings. The title of the exhibition, “I’d be safe and warm”, is taken from the Mamas and the Papas song “California Dreamin’”. Papa John Phillips shares a vivid and romantic vision of a winter day in New York City. Dreaming of a warmer and more welcoming environment, he adopts a false spirituality to momentarily find shelter from his bitter surroundings. Similarly Helen DeSanctis and Liat Yossifor seem to long for a distant place while skillfully capturing the cold reality of where they are.

There are dozens of painting exhibitions on view in March, and Los Angeles looks particularly strong. In late March, LA Louver will open an exhibition of work the by the late abstract painter Frederick Hammersley. Based in New Mexico for the latter part of this life, Hammersley's paintings are potent and lyric distillations of paintings' most basic elements. He simultaneously worked in two modes that he referred to a "Geometrics" and "Organics." While his inclusion in Site Santa Fe more than a decade ago brought his work to wider attention, Hammersley is still, in my mind, an under-recognized artist...a true must see. --The Huffington Post

click here : www.huffingtonpost.com
click here : www.lalouver.com

Michael Reafsnyder emphasizes the dynamic characteristics of acrylic paint with his masterful ability to manipulate the water-based medium in his recent work on display at R.B. Stevenson Gallery in La Jolla. He fills the canvas with layers of complex hues and expressive strokes of color that flow through the canvas, forming interesting clusters of colors at the intersections.

Echoing the multi-faceted properties of the paint, Reafsnyder uses multiple sizes of pallet knives and sometimes found objects, “I don’t like cleaning brushes…I use anything but a brush.” Amazingly, he is able to keep the colors from mixing or turning into a muddled brown.

Hammersley's paintings are abstract, richly colored and possess a quietly resolute determination. They do not represent anything in the traditional sense; rather they suggest complex emotional states and patterns of thought. Their seemingly clear and simple compositions belie their pictorial richness.

Hammersley's abstractions came out of drawing. While teaching at Jepson Art School in Los Angeles, he found "a delicious stone" to create intimate lithographic prints (each 3 x 3 inches) based on a grid structure of 16 squares. He introduced compositional elements one by one, altering line, form, color, etc. to discover how each would react to the other. These small prints held the seeds for his later geometric paintings. After leaving Jepson in 1951, Hammersely recalled that he "bumped into hunch painting by accident," inspired by the shapes that he saw in the figure and in still-life, reducing them to elemental form. These were intuitively derived compositions that gained the attention of curator, Jules Langsner, who included Hammersley in the landmark 1959 exhibition, Four Abstract Classicists, at the Los Angeles County Museum of Art.

click here : www.huffingtonpost.com

Two exhibitions open this Thursday at Ameringer McEnery Yohe. Both of them merit your attention and attendance.

One of them features the work of Suzanne Caporael. "First and foremost, Caporael is a painter," says the gallery. "While maintaining a discrete distance from the art world in various rural havens, she has nonetheless earned herself a place in the field of contemporary painting. For nearly thirty years she has allowed her avid curiosity to guide her through a variety of disparate areas of study, most of which take two to five years of research and manifest as paintings while Caporael delves more deeply into her sources. These include eighty paintings representing thousands of miles of back roads traveled in the U.S. over a period of four years. Always remaining more allusive than descriptive, the work balances substance and subtlety with aesthetic rigor."

Two exhibitions open this Thursday at Ameringer McEnery Yohe. Both of them merit your attention and attendance.

... The other is "Hans Hofmann: Art Like Life is Real." The gallery continues, "In his essay for the exhibition catalogue, William Agee describes Hofmann as going against the grain of the artistic canon of the day; 'His art was too big, too bold, to be encapsulated in a few years after 1945, the years we generally identify as the heyday of abstract expressionism.' Instead, Hofmann preferred to search for what he believed to be the real in art, stretching it beyond the confines of a signature image. This exhibition offers a selection of his divergent poly-referential works spanning a period of 1944 through 1962." Don't maintain a discrete distance from Ameringer McEnery Yohe this week - seek instead to close it.

Patrick Wilson is on a self-professed quest for beauty in the realm of color and form. His search takes him back to 20th-century abstract colorists and reaches forward into contemporary, technology-dominated, urban life. Such rigorous study of color relationships, careful observation of artificial and natural light, and references to technological motifs yield complex and sublime results.

Frederick R. Weisman was a pioneering Los Angeles art collector whose rise as an important patron of the arts paralleled the emergence of the contemporary art scene in Southern California. Featured are works ranging from the 1960s to the present, including diverse movements such as California Pop Art, Hard-Edge Abstraction and Light and Space.

click here : www.carnegieam.org

R.B. Stevenson Gallery is pleased to announce a solo exhibition of new paintings by
Los Angeles artist Michael Reafsnyder. This is Michael Reafsnyder's 3rd solo exhibition at the R.B. Stevenson Gallery.

Wolf Kahn spends much of his summer sketching in pastel in and around Brattleboro, Vermont, later refining the sketches in his hilltop studio. BMAC is honored to present a portion of his summer 2011 artistic production.

Pastel is Kahn’s generative medium. I use the term generative not to imply that his pastels are sketches for paintings — though they may be. Rather, the mark a pastel stick makes, the way its powder sits on the page, its texture, its effects are the genesis of his painting style. Kahn has often referred to his painting technique as scrubbing: he makes dry, quick lines, atop thinly layered veils of color, essentially transferring his touch with pastel to paint. His virtuosic handling of the medium he calls “dust on butterfly wings” informs and expands all his artistic endeavors.

Bruno David Gallery is pleased to present Judy Pfaff‘s first solo exhibition in St. Louis since her exhibition Currents 41 at the Saint Louis Art Museum in 1989.

Rebecca Campbell and Angela Ellsworth both spent their childhoods in Utah and within the Church of Jesus Christ of Latter-Day Saints. Their different experiences and individual reactions to this specific context have inspired much of their mature work as artists. Multilayered and complex, their works touch on memory and nostalgia but are grounded in the present and the reinterpretation of their experiences as well as Mormon traditions and practices. This exhibition will include painting, sculpture and installations.

Doublespeak features artworks by an international roster of contemporary women artists who utilize strategies of layered or multiple meanings to address politically, sexually or socially difficult subject matter. This exhibition will examine feminine perspectives on politics, war and gender, including exploration of the role of women as authors, victims, bystanders, soldiers, commentators, and caretakers. Each of the artists in Doublespeak comes from a perspective of dual-identity in one way or another (in terms of culture, religion, sexual identity, etc.).

This is a chance to see a generous selection of McNeil's robust abstractions, mainly from the '60s. In each work, a surprisingly broad palette is applied in boldly brushed strokes and passages. The raucous figuration of the artist's later work is suggested-but here we understand the pure energy that would animate his later work.

click here : www.artinamericamagazine.com

The Directors of Ameringer | McEnery | Yohe mourn the passing of a true American visionary. Helen Frankenthaler's life and art produced a remarkable body of work that inspired an artistic movement and continues to inspire new generations of artists and viewers in her unique pursuit of truth and beauty. We will miss your grace and friendship but just need to look at your paintings to find the source of your spirit and the joy you have brought to us.

Will Ameringer
Miles McEnery
James Yohe

Marty Walker Gallery presents deftly boisterous abstract paintings by California artist Michael Reafsnyder for his first exhibition in Dallas, Texas. Part drip, smear, scrape, and drizzle, part color-field, purely intuitive, intellectual and largely frenetic, the nest of colors vibrate beyond the canvas and invite a playful entry. Layers of paint are drawn across the surface like strata of earth in different perspectives in vibrant, unblended hues, cut up and left on the canvas like scraps. Inspired by abstract expressionism, the paintings blend intuitive process with child-like discoveries of the COBRA avant-garde group, cleansing the angst and subconscious monsters with his ever-present, smiley-face signature.

Experiments in Abstraction: Art in Southern California, 1945 to 1980, addresses a generation of California-based artists who explored the possibilities of abstraction. In the years following World War II, a distinctive style of art, identified as Hard-Edge painting, was developed by pioneering artists such as Karl Benjamin, Lorser Feitelson, Oskar Fischinger, Helen Lundeberg, and John McLaughlin. In 1959 Los Angeles Times art critic Jules Langsner coined the term “Hard-Edge Painting” to describe the work of these California painters. Partly a reaction against Abstract Expressionism, best known in the thickly layered paintings of American artists Willem de Kooning and Jackson Pollock, Hard-Edge emphasized angular lines, reduced forms, precise surfaces, and rich colors. The resulting aesthetic is forever associated with mid-century California Modernism. Beyond the pioneering Hard-Edge painters, other California-based artists, including Charles Arnoldi, Sam Francis, and Ed Ruscha, continued to experiment and transform abstraction on the West Coast. This exhibition, which includes works from the Museum’s permanent collection and some local loans, explores the diversity of Post-War abstraction in Southern California.

Susanne Vielmetter Los Angeles Projects is pleased to announce a solo exhibition of new paintings by Los Angeles based artist Patrick Wilson in galleries 3 and 4. On view will be a range of new paintings in which Wilson continues to translate color and light into luminous and flawlessly calibrated abstractions. Wilson's technique is straightforward - using drywall blades, rollers and masking tape he moves color around in controlled areas. The resulting compositions are elaborately layered squares, rectangles and lines of stunning color and radiance. Alternating between surfaces where the paint has been rolled on and where translucent layers are being pulled repeatedly over the surface, Wilson crates a spectacle of great beauty, in which the painting alternately offers resistance to the eye or pulls the viewer into glowing fields of brilliant depth.

Throughout her life, Nancy Graves (1939 -1995) had a long relationship with Texas, and Houston in particular, so it is with great pride and pleasure that Texas Gallery brings her work back to Houston in an exhibition of both paintings and sculptures from a major period in her career. In cooperation with The Nancy Graves Foundation, Texas Gallery will exhibit a selected group of paintings and cast bronze sculptures from the 1980s from September 8 through October 29, 2011. Rarely has any artist been able to meld the formal concerns and mediums of painting and sculpture into seamless harmony in the manner of Nancy Graves.

15 July - 16 October 2011

This exhibition will focus on Provincetown's legacy as an art colony, and will cover over 100 artists from Charles W. Hawthorne's founding of the Cape Cod School of Art in 1899 to the present day. This will be the largest and most comprehensive survey of the art colony completed in over 40 years.

NEW PALTZ – The Samuel Dorsky Museum of Art will celebrate its 10th anniversary on Saturday, October 15. The Dorsky first opened to the public in April 2001 and was officially dedicated on October 20, 2001.

The events of next weekend will honor past Hudson Valley Master artists Lesley Dill, Robert Morris, Don Nice, Judy Pfaff and Carolee Schneemann.

click here : http://www.midhudsonnews.com

This two-person exhibition is the culmination of an unfolding visual dialogue between artists Iva Gueorguieva and Julie Weitz, as each considers the relationship between time, body and painting. In this exchange of influence, Gueorguieva takes on Weitz's reoccurring theme of the mask and existentially rich nature of the reflection, and Weitz adapts Gueorguieva's implied figuration and propensity for vertical structure. The two artists encounter each other in their insistence on the body as both subject and field, and their consideration of time in the experience of looking.

Artistic Evolution is inspired by works that were shown at NHM when it was the Los Angeles County Museum of History, Science, and Art, the first dedicated museum building in Los Angeles. The Exposition Park museum historically played a crucial role in nurturing the dynamism and richness of the Los Angeles art scene. In the mid 1960s, art exhibitions were moved from the Museum to the new Los Angeles County Museum of Art on Wilshire Boulevard, and NHM focused its mission on natural history.

click here : www.nhm.org

Be among the first to view the new exhibit Wolf Kahn: Brattleboro Pastels, featuring new work created this summer in southern Vermont by one of America’s most influential and admired landscape artists. Kahn will be on hand to sign books, limited-edition prints, catalogues, posters, and more. Cash bar and light refreshments provided.

click here : www.brattleboromuseum.org

Iva Gueorguieva (b. 1974) generates a sense of frenetic activity in each of her expansive compositions. The 15 large-scale paintings at Ameringer McEnery Yohe and nine works on paper at Bravin Lee Programs constituted the Bulgarian-born, Los Angeles-based artist’s New York solo debut. Produced in the past two years, the works feature flying trajectories and curving eruptions of line and color that create a sense of depth and movement. Her spaces are as whirlpool-like and active as those of Julie Mehretu, but her cascading forms share the physicality of Matta’s fanciful paintings. With her deft handling of multiple techniques and distinctive use of color, Gueorguieva is consistent but not repetitive.

Throughout the history of Modernism, the reputations of many painters have become known through their association with groups of like-minded individuals. Some of these associations are casual while others become definitive movements involving exhibitions and critical dialogues, at times using a manifesto or style of presentation as a means to communicate their aesthetic or to reinforce their social, political, and conceptual aspirations. Art movements have a temporal role in the history of art. They exist for a relatively short duration before members spin off in other directions.

Modernism's grandest break with art history was not its pursuit of the minimal but its abandonment of technical virtuosity. Wilson remains the most ambitious, dextrous and mind-bogglingly precise painter working in abstraction in many years... maybe ever. If you never imagined a mesmerized audience staring at a descendent of Malevich with the "how does he do it" look in their eyes usually reserved for photorealists, get down and see this nearly sold-out show.

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School of Visual Arts (SVA) presents "The Influentials," an exhibition featuring distinguished female alumni of the College and the diverse group of artists who have influenced their practice. "The Influentials" is both an investigation into the creative lineage between contemporary artists and a dialogue between mentors and mentees that crosses generations, gender and media. The exhibition is co-curated by independent curator Amy Smith-Stewart adn SVA Director of Development and Alumni Affairs Carrie Lincourt.

This exhibition is a major survey of photrealism art from the collection of author and collector Louis K. Miesel who coined the term "photorealism" in 1969.

The hard-edge abstractions of the painter Frederick Hammersley (1919-2009), who began his career in Los Angeles and later moved to New Mexico, have never enjoyed much of a New York presence. They were last seen in bulk here in a two-person exhibition at Artists Space in 1987, a year after the artist’s only New York gallery show and more than 20 years after his rare inclusion in a New York museum show: the Op-Art-centric “Responsive Eye” exhibition at the Museum of Modern Art in 1965.

The fall art season is in full swing, and there is an overwhelming amount of painting on display at galleries throughout the United States. I expanded my usual Must See list from ten to twelve exhibitions, but I could have easily selected more. As always, I primarily focused on emerging artists, although more established figures such as Susan Rothenberg and Lari Pittman are on the list with impressive new bodies of work.

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Featuring works by Suzanne Caporael

click here : www.kemperart.org

Bad to the bone. That's us. Badness permeates our culture. It's the party crasher no one invited but everybody is secretly glad showed up. Because goodliness has always been boring and being bad can be cool. It comes in many guises: Über-badass bikers, mischievous children, ham actors, hungry wolves, politicians, Blaxploitation heroes, fashion choices, gestures, cigarettes and omens. Things get interesting when they go bad.

It's a bad, bad, bad, bad world—and it's ours.

click here : www.annakustera.com

Photorealism does not especially intrigue me, but in Patrick Lee's work, the technique is just the starting point for further revelations. Lee's graphite portraits of men are meticulous down to the very pores that sprout whiskers. The figures are set in a style reminiscent of the early 1900s, with heads floating in a limbo of whiteness, and I am reminded of the decades old black and white photos of my grandmother's family. Yet these portraits are startling contemporary insights into the society of men. Bald heads, scars, tattoos and ethnically diverse, these men virtually wear the stories of their lives on their necks, faces, and heads. In a culture where youth is trumpeted no matter the class or color of the individual, it's an interesting relief to see men, instead of kids, depicted here. These are men who clearly have lived lives of intensity and peril and are part of a society that signals their wounds with physical visuals.

Kahn works a canvas with the relentlessness of the rising tide. Several times during a visit to his studio, I would become enamored by a finished and already framed painting, only to have Kahn point at a certain spot in it that, to his mind, required more yellow there, or a more intense blue here. His painting is always incomplete—another precious contribution of sensibility art to this packaged culture of ours. Can you imagine Damien Hirst or Jeff Koons obsessing about a square inch of one of the large concoctions they have others illustrate from their photoshop compositions?

"Patrick Lee’s gorgeous portraits of tough young men are great works of art because they entice you to imagine what it might be like to live in someone else’s skin."

Three recent exhibitions in the New York area offered an opportunity to assess the career of the late Spanish-born Abstract Expressionist Esteban Vicente (1903-2001).

Abstract Expressionist artist Robert Motherwell called paper the most “sympathetic of all painting surfaces,” remarking that “it’s a struggle to get a canvas to have the beautiful surface that paper, by nature, already has.”

Western Project is proud to present the second solo exhibition by Los Angeles artist Patrick Lee. After a successful show in New York last year, the artist will present seven recent large scale drawings and a new video project.

An exhibition that explores what family life can provide to creative professionals. While having both a family and a productive practice is nothing new, the trend of honoring the synthesis of the two is a current phenomenon.

click here : www.griffinla.com

Wolf Kahn’s recent paintings, continuing his long engagement with rural New England as fodder and muse, still manage to startle and delight.

Featuring works by Iva Gueorguieva

click here : www.bravinlee.com

The Portland Art Museum's sprawling new exhibition, "Riches of a City: Portland Collects," announces its intention the moment you walk in the door: It's about the warmth and pleasures of domestic life -- if not always in the art itself, at least in where it comes from. - Bob Hicks

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There were just five George McNeil paintings in Perlow’s tiny space this winter, but even this small number made me wishfor a full-on museum exhibition of this underknown artist.

Nancy Graves: A Memorial Exhibition brings together seven works from the Art Center’s permanent collection by the artist Nancy Graves.

Concrete Improvisations: Collages and Sculpture by Esteban Vicente will feature approximately 80 of the artist’s works, both collages and polychrome sculptures, which Vicente referred to as divertimientos or juegos, (“toys” in English). Vicente’s “toys” display his thorough understanding of Cubism, Constructivism and assemblage. Together, this group of works will reveal interesting facets of the career of this accomplished, if unassuming, artist.

Through a distinguished career that stretches back to the 1970s, she has exhibited internationally and received many prestigious awards—including a MacArthur Fellowship and National Endowment for the Arts grants. Pfaff has also been strongly dedicated to education in the arts.

Updating the tenets of that short-lived movement for the current era, Iva Gueorguieva’s recent paintings at Ameringer | McEnery | Yohe (“A Stitch in Graft”)—one of two concurrent shows for the Bulgarian-born artist—produce similar spellbinding effects.

Artists tell the story of a charismatic teacher and his ideas in Color Creates Light: Studies with Hans Hofmann by Tina Dickey, recently released by Trillistar Books. The author will travel to New York in early May for two book signings: on May 3 at 8pm, a signing at Spoonbill & Sugartown Books in Williamsburg, Brooklyn, and on May 5 from 5-7pm, a Cinco de Mayo signing at Ameringer McEnery Yohe in Chelsea.

The Minneapolis Institute of Arts has actively collected drawings for nearly a century, acquiring works of outstanding quality by many of the world's most prominent artists.

The Weatherspoon Art Museum at the University of North Carolina at Greensboro is pleased to present the exhibition Judy Pfaff: Falk Visiting Artist. The internationally renowned artist is one of the pioneers of installation art, which is work that is site-specific and three-dimensional. Since the 1970s, she has been on the forefront of combining aspects of sculpture, painting, and architecture to form dynamic works that transcend aesthetic boundaries.

Our times demand that we embrace paradox. In response, instead of parsing out the incompatible, my experiment is the opposite. I seek the radiant, the abject, deliverance and damage in concert. These paintings are a manifesto for rapture, in spite of, or even in debt to, the abyss.

On view through April 10, the exhibit highlights an impressive collection of contemporary works from a wide variety of artists collected by the Golds for more than 30 years. Like many high-profile Los Angeles-based collectors — such as Edythe and Eli Broad or Lynda and Stewart Resnick — the Golds’ collection demonstrates an acute sense of style, taste and artistic understanding.

Rebecca Campbell’s new paintings are looser and juicier and far more beautiful than anything she has made since she began exhibiting her haunting works in Los Angeles 10 years ago. They’re also stranger and scarier than anything else being made today — despite, and because of, their generally benign subjects: pretty girls, gorgeous rainbows and sublime fireworks.

New York-based Caporael is an inveterate road tripper (having covered some 30,000 miles in her lifetime), and she used her most recent cross-country excursion as the basis for the 12 paintings on display here (all 2009 or ’10). Despite their highly abstract forms, the canvases, some of them fairly substantial in scale (the largest are 60 inches tall) and many with thickly painted surfaces, manage to convey Caporael’s journeys in a way that feels as fresh and honest as a lap-held diary.

In Michael Reafsnyder’s joyously frenzied paintings, each rectangular picture, with its layers of drips, swirls, daubs, and arcs, in every hue imaginable, was also a map of its own creation. Together with his cacophonous multicolored, biomorphic ceramic sculptures, these works seemed primarily designed to energize their audiences. For his showy topography, Reafsnyder used a variety of application methods: spreading the paint with a flat edge, allowing it to drip from above, applying it directly from the tube, touching it with his hand (or perhaps his arm), or, while the paint was still sticky, lifting it off the surface. The lush, thick surfaces put one in mind of cake frosting as much as they did Abstract Expressionism. Arguably Gerhard Richter’s spirit was being channeled—and challenged—as was Jackson Pollock’s.

The palette of Liat Yossifor's new paintings is calm, cool and collected. Soothing grays predominate, ranging from whisper-soft tints as delicate as a mourning dove's feathers to steely shades that would be at home on a battleship.

Manet was sort of a dandy, so I don’t know what he could have possibly known about the reality of being a ragpicker or homeless person. This is a very outside-in look at a subject. But for me what’s really compelling is that there’s a tiny still-life in the left-hand corner: a painting within the painting. You can make out a shard of glass, a lemon peel, a bit of garbage — but it looks like he’s only touched the canvas a few times.

“Esteban Vicente: Portrait of the Artist,” at the Parrish Art Museum in Southampton, starts with one artist, but quickly — and thankfully — opens up into one of these broader, more inclusive chapters. Vicente (1903-2001), a Spanish-born artist who lived most of his life in New York, was best known for his collages, and a big red abstract-floral one greets visitors at the entrance. A watercolor by his contemporary Philip Pavia, “Freefall No. 2” from 1959, hangs nearby, however, turning the installation immediately into a dialogue.

“Abstract Expressionist Robert Motherwell had a lifelong obsession with Irish novelist James Joyce. In 1948, Motherwell painted The Homely Protestant after opening a copy of Joyce’s “Finnegans Wake” and randomly placing his finger on a page to select the title for the painting.

George McNeil was not among the most well known abstract expressionist painters, but he was in the thick of it in the 1940s and 1950s, showing his brash, bright, gushing abstractions alongside work by de Kooning and Pollock. In the late 1950s, as the movement sputtered out, McNeil began incorporating the figure into his paintings. “TRANS/FIGURE/ATION’’ at ACME Fine Art traces McNeil’s evolution as a figure painter through the 1960s and into the early 1970s.

Angles Gallery is pleased to present AUGMN, an exhibition of new paintings and drawings by Bulgarian-born Iva Gueorguieva.

Nouns and adjectives go a long way to describe works of art, but the turbulence within Iva Gueorguieva's paintings demands verbs -- lots of verbs. Shapes billow, pulse and scatter; lines thrust and plummet; colors collide, dissolve, shriek and sigh. The paintings engulf the body. They send the eye skittering.

Judy Pfaff, who once wowed the art world with her formally and spatially inventive installation art, has recently turned her attention to paper. Her newest pieces, shown here, exist in box-like metal frames defining a narrow band of space—maybe five inches deep. Viewers should not let the works’ apparent flowery “decorativeness” dissuade them from inspecting all that is happening within this shallow space. Pfaff still has an uncanny grasp of spatial complexities. The details in these works provide sustenance for eyes starved of unabashed beauty. It’s as if she were compressing a gallery’s worth of glorious installation art into a confined space.