Here are a few images from my show (just closed), Efforts of Affection - A Decade of Painting at Gremillion & Co Fine Art in Houston. It afforded a rare opportunity to show a group of paintings from the past ten years along with some very new works. Many thanks to Ron Gremillion and all my dear friends and colleagues in Houston. It was a pleasure as always.

In the Studio

Steven Alexander, Synchro 4, 2017, acrylic on canvas, 30 x 24 inches


May and June in New York

Alain Biltereyst at Jack Hanley 

Back Room at Cheim & Read -- Joan Mitchell, Louise Bourgeois, Ron Gorchov

Hybrid Form at Margaret Thatcher -- Kevin Finklea (above), Frank Badur, 
Omar Chacon, Freddy Chandra, Ted Larsen, Joanne Mattera, Richard Roth  

Felix Gonzalez-Torres at David Zwirner 

 Ellsworth Kelly at Matthew Marks

Jill Moser at Lennon Weinberg

David Novros at Paula Cooper 

Mike Solomon at Berry Campbell

Don Voisine at McKenzie


In the Studio

Steven Alexander, Veil 1, 2017, acrylic on canvas, 60 x 36 inches



 Lee Krasner, Gaea, 1966, oil on canvas, 69 x 125 in.

On the third floor at MoMA, just below the magnificent Rauschenberg exhibition, is Making Space: Women Artists and Postwar Abstraction. The exhibition is ironically and aptly titled, and is intended to be a tribute to and an illumination of the women who elbowed their way into the art world of the '50s and '60s. And indeed, this exhibition features many rarely seen gems from the MoMA collection, including works by Etel Adnan, Annie Albers, Ruth Asawa, Lygia Pape, Lucie Rie, Anne Ryan, and many others. It also brings out of the racks a number of major works by well established women including Lee Krasner, Joan Mitchell, Magdalena Abakanowicz, Louise Nevelson, Grace Hartigan, Jo Baer, and Agnes Martin.

This all sounds wonderful -- and it is. But the problem with this exhibition is that it feels like a quaint sidebar, an obligatory nod, rather than a true illumination. Many of the artists in the show, including Eva Hesse, Louise Bourgeois, Lynda Benglis, Elaine De Kooning, Jay DeFeo, Helen Frankenthaler, Yayoi Kusama, and Pat Passlof are represented by small, or otherwise less-than-major works. The third floor galleries are small, cramped, not well suited to the scale at which most of these artists worked. Then there is the inevitable issue of the artists who were left out.

There is no doubt that if MoMA had pulled out all the stops for this show -- featured the very best work in the collection, in a space that generously accommodated the work -- this could have been a tremendous and long overdue blockbuster show that seriously addressed the awesome achievements of postwar women artists. Instead, as beautiful as it is, this exhibition barely scratched the surface and missed a wonderful opportunity.

Joan Mitchell, Ladybug, 1957, oil on canvas, 78 x 108 in.

Alma Thomas, Untitled, 1968, acrylic and tape on paper, 19 x 51 in. 

Yayoi Kusama, No. F, 1959, oil on canvas, 41 x 52 in.

Lynda Benglis, Embryo II, 1967, beeswax, damar, gesso on masonite, 36 x 6 x 5 in.

Magdalena Abakanowicz, Yellow Abakan 1968, sisal, 124 x 120 x 60 in. 

Agnes Martin, The Tree, 1964, oil and pencil on canvas, 72 x 72 in.

Images from MoMA website


JOAN WALTEMATH at Anita Rogers

Joan Waltemath, what happens (West 1  1,2,3,5,8...). Oil, graphite, bronze, lead, phosphorescent and florescent pigment on honeycomb aluminum panel. 37 ” x 15 9/16” 

Joan Waltemath, what happens (West 1  1,2,3,5,8...), detail 

Joan Waltemath is presenting an exhibition of new works, titled Fecund Algorithms, at Anita Rogers Gallery in Soho, through June 1, 2017. The show is comprised of a group of complex mixed media works on aluminum panels, as well as a selection of small simple canvas and fabric constructions. The panel paintings, a continuation of Waltemath's Torso/Roots series, begin with the grid and compositional proportions based on mathematical formulas. But these calculations are ultimately transformed through intuitive shaping, layering, scraping and reconfiguring to arrive at points of humming equilibrium. Waltemath's rich surfaces are built with a dizzying variety of materials, and her process occupies an uncanny zone between precision and spontaneity, with the physicality of the material being always present. Like visualized choreographies, these works evolve through time, from the conceptual to the sensual, embodying the dynamism of human sensibility.

Joan Waltemath, interwoven (East 2   1,2,3,5,8…). 2013-16. Oil, zinc, bronze, stainless steel, phosphorescent and interference pigment on honeycomb aluminum panel. 39 ¼” x 18 ⅝” 

Joan Waltemath,  interwoven (East 2   1,2,3,5,8…), detail 

Joan Waltemath, men/many (East 2 1,2,3,5,8…). 2014-16. Oil, aluminum, bronze, interference, glimmer, phosphorescent and florescent pigment on honeycomb aluminum panel. 39 1/4" x 18 5/8" 

Joan Waltemath, canvas, fabric, thread 

Joan Waltemath, canvas, graphite, thread


Some Great Shows - March and April

 Suzanne Caporael at Ameringer McEnery Yohe - Through April 22, 2017

 Vija Celmins at Matthew Marks - Through April 22, 2017

 Perl Fine at Berry Campbell - Through April 15, 2017

 Ron Gorchov at Cheim & Read

 Gordon Moore at Anita Rogers


New Paintings at The Curator Gallery

Here are a few images from my exhibition, Places To Be, at The Curator Gallery in Chelsea through February 18, 2017.

The Curator Gallery
520 W 23 St.
New York, NY
January 11 - February 18, 2017


Some Current Painting Shows

There's a wealth of good painting in the New York galleries in January, and much more on the way....

 Marina Adams at Salon 94 through February 22

Marina Adams shows a powerful group of abstract paintings at Salon 94. These large beauties feature high keyed color and ambiguous organic shapes and spaces, distilled through adept and open paint handling.
 Tristan Barlow and Hans Neleman at Anita Rogers through February 11

London based painter Tristan Barlow is in a two person show with Dutch-born photographer Hans Neleman at Anita Rogers in Soho. Both artists explore processes of accumulation and excavation involving cultural imagery and sensual materiality. Barlow employs layers of marks and shapes that gel into luscious intuitive abstractions that convey a dynamic sense of place. Neleman constructs framed assemblages with great attention to the nuances of mystery and meaning latent in his time-worn found materials and images.

 Katherine Bradford at Sperone Westwater through February 11

Katherine Bradford's roll continues with a group of big new paintings upstairs at Sperone Westwater. Her imagery, sometimes fantastical and sometimes banal, provides a source of fascination and a vehicle for her beautifully offhanded process and great color.

Dan Walsh at Paula Cooper through February 4

Dan Walsh's new paintings at Paula Cooper continue to refine his signature process that is at once baffling in its intricacy and thrilling in its directness.


TAL R at Cheim and Read

TAL R, Cabaret Closed, 2016, pigment & rabbit skin glue on canvas, 78 x 98 inches

Copenhagen based painter TAL R is presenting a group of new works at Cheim and Read, through February 11, 2017. The new work, large scale paintings and small crayon drawings, begin with photographs of facades of random sex shops around the world - some taken by the artist, some sent to him by friends. The paintings are made with raw pigment and rabbit skin glue on rough linen, which creates a unique scumbled surface and sensual vibrant color. These are breathtakingly beautiful pieces that operate as brilliant metaphors for painting -- the frontality of the plane that both seduces with its material beauty and conceals the messy business that goes on "in the back room".

 TAL R, Red Roof, 2016, pigment & rabbit skin glue on canvas

 TAL R, House Tiffany, 2015, pigment & rabbit skin glue on canvas, 98 x 78 inches

 TAL R, Cabaret, 2016, pigment & rabbit skin glue on canvas, 67 x 97 inches

 TAL R, Snow, 2016, pigment & rabbit skin glue on canvas, 67 x 78 inches

TAL R, Keyhole, 2016, pigment & rabbit skin glue on canvas, 94 x 74 inches