To better understand this concept of “the divine joke,” I turned to Becoming Modern: The Life of Mina Loy, in which Carolyn Burke, Loy’s biographer, explains that Loy’s notion was that art could be a “‘divine joke’ which the public did not get because it had been trained to see things in just one way” whereas “the artist saw each object with fresh eyes.”
For the third volume of this ongoing series entitled New York Studio Conversations (Part II) art historian Stephanie Buhmann conducted interviews with twenty artists, whose ages range from early 41 to 96.
The compositions are direct, unmannered and actively self-sufficient. They point to a time when such unfettered abstraction was the dominant idiom in the New York area; we pretend that is so still, although it is clear by now that the style is currently a matter of individual performance, practiced by talented persons such as Hinnemo.
Anita Rogers Gallery announces its 2018 Winter Group Exhibition, a collection of work by three artists new to the gallery: Jan Cunningham, Gloria Ortiz-Hernández and Robert Szot. The exhibition is on view January 3 – February 3, 2018 at the gallery’s new location at 15 Greene Street, Ground Floor in SoHo, New York
In 1962 Jack Martin Rogers, who was born in Warwickshire, England found himself pulled into the magical island of Crete, and this winter some of his paintings – mainly with Greek themes – were lovingly exhibited by his daughter at her Anita Rogers Gallery in Manhattan.
The selection of works on display features new paintings from the artist’s 'Torso/Roots' series. The new paintings by Waltemath were created with a range of unique materials including oil, graphite and various metallic and fluorescent pigments on aluminum panels, many of which took years for the artist to complete.
In “Fecund Algorithms,” a solo exhibition of new paintings and diminutive sewn-canvas works, Joan Waltemath diverts gently from the quiet perfection of her previous work to embrace small accidents and contingencies.
Upon entering the open space of the Anita Rogers Gallery you are greeted with rectangular aluminum canvas' that immediately draw your eye and are painted like multi-paneled grids. The subtly decadent, organized planes of color and texture serve as visual offsets and underline the surrounding architecture of the Anita Rogers Gallery.
Once a refuge for artists who rented cheap industrial lofts, SoHo is now one of the most stylish and exclusive neighborhoods in New York. While many of the artists have long since relocated, much of the art remains.
Despite the show’s title, an alluring softness pervades George Negroponte’s new work in his exhibition, “Gravel Road,” at Anita Rogers Gallery in Soho through January 7.
George Negroponte comes to making art with a pure love of painting. His aim has never been to turn over the apple cart, or in Al Held’s words, reinvent the wheel. As such, he has been compelled to paint his way through various modes and approaches, learning and searching for authenticity and resonance.
George is obviously a venerable artist. My early impressions of his latest (re)+work are very positive. Keeping all of this in mind, I’m certain my reflections are influenced by the number of pieces shown, the symmetry of how the pieces are hung, and the architectural qualities and layout of the gallery, and of course the pieces themselves having a constructed efficacious quality; all giving a sense of a utilitarian longing.
Many notable artists — among them Dan Flavin, Sol LeWitt, and Brice Marden — worked at museums early in their careers, usually as security guards, but few kept one foot in the studio and one in a museum for three decades. George Negroponte managed to do just that.
On the eve of a solo exhibition of recent paintings at Anita Rogers Gallery in New York, Pat Rogers of Hamptons Art Hub reconnected with Negroponte to continue a discussion on his art and his process that began a year ago.
At times, abstract painting can seem like a received package, with little space left to think outside of the box. In Virva Hinnemo, to overplay the postal metaphor, we have an artist “pushing the envelope”—in her case, literally so. A form vocabulary and a gestural lexicon familiar from mid-century American masters Franz Kline, Robert Motherwell and Philip Guston meet the swift completion of their appointed rounds on flattened cartons as their repurposed, eccentric support.
Ms. Hinnemo adopted cardboard as her primary material last summer. “I was ready to scale up, and I have a lot of cardboard boxes from when we moved here. It’s a surface I love to work on. Because of the imperfections, whether it’s print or folds or weird edges and creases, it almost has a kind of grit. And it provides organizing principles, such the grid it makes when it’s unfolded or the holes meant for carrying it.”