Sunday, April 24, 2011

Bye Bye Kitty at the Japan Society

Kohei Nawa, PixCell-Elk, 2009
Bye Bye Kitty!!!  
Between Heaven and Hell in Contemporary Japanese Art
Curated by David Elliot

Manabu Ikeda, Existence, 2004 (pen and acrylic ink on paper, 67 1/8 x 80 5/8")

Tomoko Kashiki, In a Box, 2008

Chiharu Shiota, Dialogue with Absence, 2010


This amazing little show examines the conversation between Japanese art and Western modernism. 

Its prescience alone is reason enough to make a trip
to New York's Japan Society, located across the
street from Dag Hammerskjold Plaza near the U.N.

While you're there, consider donating to the Japan Society's Earthquake Relief Fund.

Lee Krasner interview




Friday, April 1, 2011

Sparkling Tara Donovan at Pace



Stunning.                                                                                                                                         PACE

Jack Youngerman in LA

FROM ART INFO
March 30, 2011, 7:39 am 
“Surface Truths” at the Norton Simon Museum


The Norton Simon Museum is doing another small, surprising show from its storerooms: “Surface Truths: Abstract Painting in the Sixties.” It’s 17 works that Norton Simon probably wouldn’t have approved of—acquired, at any rate, by the spendthrift Pasadena Museum prior to Simon’s takeover. 

The paintings are mostly hard-edge abstractions, large to XXXL (above, Jack Youngerman’s Red-Vermillion and Frank Stella’s 32-foot wide Damascus Gate I). The artists range from the canonical to the un-Googleable, and I guess that’s the appeal. It’s a core sample of what the most astute West Coast collectors considered to be important, in the post-painterly sixties. One surprise is how many NY and DC color field painters the museum has. 


The show also reminds you how important Paris was to this generation. Youngerman and Ellsworth Kelly spent time there, as did Sam Francis (not in the show, but his Basel Mural is upstairs). A standout is Washington/Provincetown artist Thomas Downing’s Red-1966. He became known for hand-painted “Spot” paintings, some rigorous and some more free-form. Here the colors so resemble lipstick shades that you’d swear it’s a feminist conceptual piece of the next decade or later.

Downing taught Sam Gilliam, and you could be forgiven for thinking he inspired Damien Hirst—and, um, Bansky.

To see Liesl Bradner's interview with Jack Youngerman in the LA Times click here.