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.”
Anita Rogers Gallery is pleased to present its Inaugural exhibition featuring prints by Robert Motherwell and Brice Marden along with original paintings by George Negroponte, Eric Holzman and Kazimira Rachfal. Taken together as a whole, this collection encompasses five artists whose works create a conversation about the nature of abstraction, the line between abstraction and representation and the inextricability of the natural world from art.