Art review: Dowling Walsh show represents the range of abstract expressionism Into the Abstract runs through Feb. 27 at the Rockland gallery.
By Jorge S. Arango
Kerry Ryan McFate/Courtesy of Dowling Walsh Gallery
With the exception of Kenneth Noland, Dowling Walsh’s current show, “In the Abstract” (through Feb. 27), concentrates on Abstract Expressionists who might not be household names. Yet the territory their work inhabits is, by turns, electrifying and sublime.
IF YOU GO
WHEN: Through Feb. 27
ADMISSION: Free
INFO: (207) 596-0084, dowlingwalsh.com
Mention American Abstract Expressionism, and most people immediately think of the 1940s and ’50s, first-generation Ab Ex artists Jackson Pollock and Willem de Kooning, or the co-emergent Color Field painters who included Mark Rothko, Clyfford Still and Barnett Newman. The next generation overlapped with the first, emerging in earnest in the 1960s and spawning talents such as Morris Louis, Helen Frankenthaler, Joan M
The Great Beginning of Jules Olitski
The artist’s earliest Color Field paintings, with their indomitable colors, austere compositions and wild pictorial spaces, are among the movement’s signal achievements.
Jules Olitski’s “Mushroom Perfume” (1962) in the show “Jules Olitski: Color to the Core” at Yares Art.Credit.Estate of Jules Olitski/Licensed by VAGA at Artists Rights Society (ARS), New York; Yares Art
Jan. 28, 2021
In the early 1960s, Jules Olitski (1922-2007) made some of the most astounding abstract paintings of the 20th century. Many of them still astound even if the avuncular sexual innuendos and women’s names in most of their titles are by now wearying, the stale artifacts of a malign, oblivious era. Both conditions are established by “Jules Olitski: Color to the Core” at Yares Art in Midtown.
If you are experiencing midwinter blues brought on by recent political events, the ongoing pandemic and gray skies, a visit to Pace Gallery in Palo Alto may be a much-needed antidote.
Berry Campbell Gallery opens the 2021 season with a solo exhibition of recent work by Jill Nathanson
Jill Nathanson, Light s Cover, 2019. Acrylic and polymers on panel, 38 1/4 x 74 in.
NEW YORK, NY
.-Berry Campbell Gallery started of the 2021 season with a solo exhibition of recent work by New York artist, Jill Nathanson. Nathansons new paintings continue her exploration of color theory. Combining this with her elaborate process of mixing and pouring paints on to wood panel, Nathanson stands apart from her contemporaries. In 2015, Nathanson was one of six artists in Confronting the Canvas: Women of Abstraction at the Museum of Contemporary Art, Jacksonville, Florida, curated by Jaime DeSimone, an exhibition focused on new, experimental approaches to the process of painting. The other participants were Keltie Ferris, Maya Hayuk, Fran ONeill, Jackie Saccoccio, and Anke Weyer. This year, the Columbia Museum of Art, South Carolina, the Museum of Fine Arts, Houston, Texas, and the
“The only rule is that there are no rules. Anything is possible. It’s all about risks deliberate risks.” Helen Frankenthaler Deliberate Risks (through July 11, 2021) presents works recently acquired for the SCAD Museum of Art Permanent Collection, at the Savannah College of Art and Design in Georgia, by the pioneering Modernist painter and printmaker Helen Frankenthaler (American, 1928–2011). With a career spanning six decades, Frankenthaler was a leading voice in the development of the .