|
|
|
PHILLIS IDEAL – Overlap – Press Release
FOR IMMEDIATE RELEASE: Overlap March 29 – May 4, 2013 Opening Reception: Friday, March 29, 5:00—7:00 PM David Richard Gallery Railyard Arts District 544 South Guadalupe Street, Santa Fe, NM 87501 p 505-983-9555 | f 505-983-1284 www.DavidRichardGallery.com Overlap, the first solo exhibition for Phillis Ideal at David Richard Gallery, features selections of recent abstract paintings from 2 distinct bodies of work. The first is playful, consisting of colorful gestural abstractions with bold rhythms and vigorous brush strokes in a range of sizes. The second is a smaller body of work, attenuated with respect to smaller dimensions, reductive color palette and fewer brush strokes. The paintings are minimal, evoking a calm with the artist’s predominate use of black, white and a range of greys as well as an emphasis on line and creating a meditative state. Ideal’s paintings are richly layered with a mixture of color, bold and gestural brushstrokes and collaged elements. The wonderful compositions and color palettes evolve during her process of experimentation in the studio, conflating and referencing many art historical movements and tendencies from modernism to Abstract Expressionism and Color Field to Minimalism and beyond—creating her own language out of the many forms of abstraction. Her art-making practice is not meant to be representational, yet the finished artwork, frequently with suggestive titles, is often referential but in different ways to different viewers—a hallmark of great abstraction. Phillis Ideal has exhibited in major museums and galleries in San Francisco, David Richard Gallery is located in the Santa Fe Railyard Arts District and specializes in post-war abstract art including Abstract Expressionism, Color Field, geometric and hard-edge painting, Op, Pop, Minimalism, Feminism and conceptualism in a variety of media. Featuring both historic and contemporary artwork, the gallery represents many established artists who were part of important art historical movements and tendencies that occurred during the 1950s through the 1980s on both the east and west coasts. The gallery also represents artist estates, emerging artists and offers secondary market works. For additional information please contact: David Eichholtz CAROL BROWN GOLDBERG – Color In Space – Press Release NT 22, 2011, Acrylic on canvas with pulverized glass, 60″ x 36″
FOR IMMEDIATE RELEASE: Color In Space March 29 – May 4, 2013 Opening Reception: Friday, March 29, 5:00—7:00 PM Artist Gallery Talk: Saturday, March 30, 2:00-3:30 PM David Richard Gallery Railyard Arts District 544 South Guadalupe Street, Santa Fe, NM 87501 p 505-983-9555 | f 505-983-1284 www.DavidRichardGallery.com David Richard Gallery is pleased to present Color In Space, the gallery’s first solo exhibition for Washington D.C.-based artist, Carol Brown Goldberg. These recent paintings are astral-like, conflating lyrical abstraction with Op Art and hard-edged painting to create portals with a view of some great abyss or boundless space beyond. There is neither a predetermined horizontal nor vertical configuration to her paintings as they are “pure abstractions” according to Donald Kuspit in a recent essay he wrote discussing her artwork. Thus, they can be viewed in any orientation. Influenced by her teachers, mentors and peers of the Washington Color School, her paintings are necessarily about color and the manipulation of paint to create translucent veils and opaque structures that provide definition to the portals and allow a view on to something speeding away or towards us — perhaps a mass being pulled by a vacuum in space or a cosmic explosion with debris hurling toward us. Goldberg maintains a tension in these paintings between their vibrant, energetic and colorful presence and the void and emptiness from floating objects and no recognizable forms that makes them seem mystical and transcendent. The titles are personal to Goldberg and somewhat evocative, but ultimately, the viewer must craft a narrative from their own experience to complete the work for themselves. Also on view will be a small selection of Goldberg’s multi-disc sculptures that interact with the paintings and her award winning short film, The Color of Time. Goldberg has shown in the U.S. and internationally in over 100 solo and group exhibitions, including traveling exhibits throughout Spain and Mexico and her work has been included in various publications. Her work is included in many museums and private collections, including New Orleans Museum of Art and National Museum for Women in the Arts, as well as permanent outdoor sculpture installations at The Kreeger Museum, The Katzen Arts Center at American University, and George Washington University. In 2012 she produced the award winning film, The Color of Time, which debuted at The Katzen Arts Center at American University. She has recently been awarded third prize for a sculpture installation scheduled for the Parque de Levante in Murcia, Spain. David Richard Gallery is located in the Santa Fe Railyard Arts District and specializes in post-war abstract art including Abstract Expressionism, Color Field, geometric and hard-edge painting, Op, Pop, Minimalism, Feminism and conceptualism in a variety of media. Featuring both historic and contemporary artwork, the gallery represents many established artists who were part of important art historical movements and tendencies that occurred during the 1950s through the 1980s on both the east and west coasts. For additional information please contact: David Eichholtz TOM MARTINELLI – Out Of Register, 1993-1998 – Press Release Tom Martinelli
FOR IMMEDIATE RELEASE: Out Of Register, 1993-1998 March 29 – May 4, 2013 Opening Reception: Friday, March 29, 5:00—7:00 PM David Richard Gallery Railyard Arts District 544 South Guadalupe Street, Santa Fe, NM 87501 p 505-983-9555 | f 505-983-1284 www.DavidRichardGallery.com Out of Register, 1993-1998, the first solo exhibition for Tom Martinelli at David Richard Gallery, features a selection of paintings and works on paper created in New York from 1993 to 1998. This work is comprised of painted circles, or dots, of uniform size and regular all over grid patterns with many layers of color applied one on top of the other. While the pattern may suggest a rigid process, the layers of color are not entirely uniform and often outside of the grid, hence there is a blurring of the circular boundaries with subtle layers of more translucent colors out of registration. The process employed by the artist creates not only a series of striking patterns that appear black and white with optical effects from a distance, but also beautiful and interesting colors, both inside and outside the dots, and raised surfaces when viewed up close. There is something reductive and elegant about Martinelli’s paintings, a simple circular form repeated in a regular pattern, but through his painstaking process and passion for and control of color, he imbues them with a complexity that challenges the viewer, holding our attention and drawing us in closer to realize and experience the radiant color underneath the apparent black and white facades from a distance. Martinelli, a New York City–based artist now lives and works in New Mexico. His art-making practice has largely focused on abstract painting, but more recently has incorporated elements of photography. Martinelli has had numerous solo exhibitions in New York and his artwork included in numerous group exhibitions in New York, Santa Fe, Albuquerque, Boston, Chicago, Dallas, Atlanta, Los Angeles and Pittsburgh, among other cities. His paintings have been exhibited internationally in Vienna, Austria, London and Manchester, England. Martinelli has received many grants and fellowships, including the distinguished Pollock-Krasner Foundation Award twice. His artwork has been reviewed in numerous publications including New York Magazine, Modern Painters, New York Times, Art + Auction, Review Magazine and THE Magazine. David Richard Gallery is located in the Santa Fe Railyard Arts District and specializes in post-war abstract art including Abstract Expressionism, Color Field, geometric and hard-edge painting, Op, Pop, Minimalism, Feminism and conceptualism in a variety of media. Featuring both historic and contemporary artwork, the gallery represents many established artists who were part of important art historical movements and tendencies that occurred during the 1950s through the 1980s on both the east and west coasts. The gallery also represents artist estates, emerging artists and offers secondary market works. For additional information please contact: David Eichholtz The Bay Lights, Leo Villareal’s monumental LED sculptureMutualArt.com
The Bay Lights, represents far more than the logistical achievement of stringing 25,000 LED nodes along nearly 5 miles’ worth of vertical suspension cables. The $8 million privately funded piece, which will illuminate the western span (1.8 miles) of the Bay Bridge nightly for the next two years, is the most ambitious project yet by the critically acclaimed Manhattan-based artist Leo Villareal—perhaps best known for his permanent installation, Multiverse, at the National Gallery of Art in Washington, D.C. A key aspect of The Bay Lights is that the patterns made by the flashing nodes have been shaped by the environment around them. Not only does Villareal program in the variables producing the glowing configurations—which he says will never repeat themselves—he also wrote the underlying software that controls each individual node. (Not surprisingly, this isn’t his first encounter with the Bay Area: the artist, now 45, worked for Paul Allen’s Palo Alto think tank, Interval Research, while in his 20s; that was also when he become a regular at Burning Man.) In creating those variables, Villareal looks to the bridge itself, and the surrounding Bay, for inspiration: “We have this monumental structure of the American sublime, this beautiful framework. We have traffic moving back and forth, we have boats underneath, the oscillations of the waves, the weather, light, and air. I take input from all of those things”—spending weeks on site, fine-tuning the algorithms on his laptop. “The piece becomes,” he adds, “a mirror of its surroundings.” “My hope is that The Bay Lights will unleash all sorts of creativity around the Bay Area, and change the way people feel about what can be done,” Villareal says. “My approach to being an artist in society is that things you do should have a really big impact, and for me it’s not really worth it if that’s not the case.” Leo Villareal was born in New Mexico and educated at Yale (where he was a classmate of Matthew Barney) and NYU’s Tisch School of the Arts, the artist now lives in New York City, where he creates artworks using light-emitting diodes and his own proprietary software. The first light sculpture he created was based on a strobe beacon he built in 1997 to mark his Burning Man camp. Since then, he has completed site-specific commissions for P.S.1/MoMA; the Albright-Knox Art Gallery in Buffalo, NY; the Brooklyn Academy of Music, to celebrate the 25th anniversary of the Next Wave Festival; the National Gallery of Art, where his Multiverse hangs in the underground corridor linking the East and West buildings; the new Tampa Museum of Art; and the 30-foot-tall Buckyball on display this past winter Manhattan’s Madison Square Park. The Bay Lights is a project of Illuminate the Arts (ITA), an organization based in San Francisco that’s dedicated to the creation and presentation of community-activating public art. The Bay Lights will go live on March 5th, 2013 at 8:30pm PST and be on view through 2015. For more information visit: www.thebaylights.org Richard Faralla – Interview with David Eichholtz and Maggie Faralla by Bob Ross on KSFR 101.1FM[iframe style="border:none" src="http://html5-player.libsyn.com/embed/episode/id/2270091/height/100/width/480/thumbnail/no/theme/legacy" height="100" width="480" scrolling="no"] Maggie Faralla, owner of Maggie’s Cakes in Santa Fe, discusses the work of her uncle, artist Richard Faralla, with David Eichholtz of David Richard Gallery. June Wayne – David Eichholtz interviewed by Kathryn Davis[iframe style="border:none" src="http://html5-player.libsyn.com/embed/episode/id/2244813/height/100/width/480/thumbnail/no/theme/legacy" height="100" width="480" scrolling="no"] David Richard Gallery is pleased to present, The Tapestries: Forces of Nature and Beyond, a solo exhibition celebrating the glorious tapestries and life of the multi-media artist June Wayne. The gallery exclusively represents and will offer for sale for the first time in several decades the 16 hand-woven tapestries produced from 1970 through 1974 in France by the legendary artist June Wayne. The tapestries were based upon lithographs produced by Wayne, featuring her contemporary images in a historic medium and artistic practice. Centered around three technology-based themes of interest to Wayne: waves, DNA and the cosmos, the tapestries were most recently exhibited in Chicago at the Art Institute of Chicago, June Wayne’s Narrative Tapestries: Tidal Waves, DNA, and the Cosmos, November 3, 2010–May 15, 2011. Women’s History Month Artists: Celebrating WHM With Judy Chicago As The King Of HeartsHuffington Post HuffPost Arts&Culture is celebrating Women’s History Month with the help of our favorite artists — female artists, of course. Every day of March we’re rolling out a new key player in the art world with a playing card… Get it? Print them out for your own amazing (although probably a bit flimsy) card deck or use them to stay fresh on your favorite women in art. In order to celebrate Day One, we’ve decided to go big with our favorite feminist artist and lover of great dinner parties, Judy Chicago. 
WHAT: Chicago’s most famed work is “The Dinner Party,” a large table with 39 place settings, each honoring a historical female who kicked ass, from activists to goddesses. The multimedia artist also works intimately with “macho” art forms like pyrotechnics and boat building, minimalist painting and colorful textiles. For this reason, she’s our King of Hearts. WHERE: You can see “The Dinner Party” at the Elizabeth A. Sackler Center for Feminist Art inside the Brooklyn Museum. WHY: Not only do Chicago’s rainbow-happy works provide us with endless joy, but the revolutionary artist coined the term “feminist art” and in the 1970s founded the first feminist art program in the United States.
David Richard Gallery HappeningsFebruary 28, 2013
David Richard Gallery in Santa Fe, NM. consistently acts as host to various exhibitions and interesting events. This week, we’ve asked David Eichholtz and Richard Barger to write a little about some of their most recent happenings. Enjoy! DAVID RICHARD GALLERY SHOWS David Richard Gallery is featuring two solo textile exhibitions, Judy Chicago, Woven and Stitched and June Wayne, The Tapestries: Forces of Nature and Beyond, through March 23 in Santa Fe, NM, www.DavidRichardGallery.com. The textiles by Judy Chicago were produced from 1983 through 2000. They are from two of her many projects that incorporate textiles, Birth Project and Resolutions for the Millennium: A Stitch In Time. These artworks are comprised of tapestry, embroidery, appliqué, quilting, macramé, beading and other needlework techniques and materials, either alone or in various combinations. By pairing proverbs and adages with contemporary imagery that evoke compassion and tolerance, Chicago examines in these artworks our birth and how we can live together in harmony in international, multi-cultural communities.
Judy Chicago, Do A Good Turn, 2000 June Wayne (1918-2011) was a multi-faceted artist: lithographer, painter, writer and filmmaker. She was best known for founding and running the Tamarind Lithography Workshop in Los Angeles from 1960 through 1970. After transferring Tamarind to the University of New Mexico, she then focused her attention on these magnificent tapestries produced in France from 1970 through 1975. The tapestries are based upon lithographs produced by Wayne, featuring her contemporary images in a very traditional and historic medium, but updated through the use of abstraction, vibrant colors, complex weaving and deep textures. Wayne was fascinated by technology, so the images are centered on science-based themes of interest to her at the time, including tidal waves, DNA, the cosmos, binocular vision and optical effects—all forces of nature and beyond human control.
June Wayne, Grande Vague Noire , 1975 The gallery hosted lectures and a panel discussion on Saturday, February 23 that included Elissa Auther, Associate Professor of Contemporary Art, University of Colorado, Colorado Springs; Janet Koplos, contributing editor to Art In America; and David Eichholtz, curator and art writer at David Richard Gallery. The speakers noted that both artists were and are provocateurs, responsible directly and indirectly for inspiring and influencing other artists and generations with respect to re-examining the use of textiles and addressing women’s issues. Auther discussed the importance of Chicago’s textiles and in particular her use of embroidery, not just as “a relic of an irrelevant politics associated with the women’s art movement of the 1970s,” but instead, “as a living, viable contemporary art form.” Auther spoke of other artists using embroidery in contemporary artwork. One such artist, Orly Cogan, collects household embroidery in antique shops and uses it as the point of departure for her own original work to create narratives and commentary on contemporary culture, from sex and drugs to pastries and other indulgences. Cogan’s images seem to focus on women and like Chicago’s art practice, appear to challenge preconceived notions of what is appropriate for women to dream of and do.
Judy Chicago, Earth Birth, 1983 Janet Koplos noted the tactile nature of the surfaces and the literal or illusionistic tension between the two and three-dimensional planes of the textiles in the exhibition. Since the 1950s there has been a significant trend away from purely two dimensions in textiles to more sculptural and three-dimensions. JUDY CHICAGO – Woven and StitchedVisual Art Source David Richard Gallery is pleased to present, Woven and Stitched, a solo exhibition of selected textiles by artist Judy Chicago that were created from 1983 through 2000 and part of Birth Project and Resolutions for the Millennium: A Stitch In Time. These works examine not only our birth, but how we can live as human beings in a global community by taking a new look at old proverbs and words of wisdom—a thought provoking collection of powerful images and texts. Chicago’s feminist work, writing, teaching and artistic practice has elevated women and their voices in the arts, and culturally as well. She celebrates through her textile work those art-making practices that are frequently misunderstood and considered craft, low art or feminine domestic activities by incorporating them in her examination and critique of monumental projects of global importance, such as creation, human rights, personal freedom and dignity. She frequently utilizes weaving, embroidery, appliqué, quilting, beading and other textile practices in her major theme-based projects, including The Dinner Party, Birth Project, PowerPlay, Holocaust Project and Resolutions for the Millennium: A Stitch In Time. Emphasizing participation and collaboration in the art-making practice imbues her protest-based artwork with solidarity. Chicago’s artwork is strategic with a long-term view and life-long commitment to creating and implementing change, not for only women, but for everyone who feels as though they are powerless and in the category of “other”. In conjunction with Judy Chicago’s solo exhibition, Woven and Stitched, the gallery will also present another related solo exhibition, June Wayne, The Tapestries: Forces of Nature and Beyond, and host a series of lectures and discussions, June Wayne’s Tapestries and Judy Chicago’s Textiles, in the gallery on Saturday, February 23, 2013, 2:00 – 4:00 PM. The featured presenters will include: Elissa Auther, Associate Professor of Contemporary Art, University of Colorado, Colorado Springs and Co-Director | Feminism & Co.: Art, Sex, Politics, Museum of Contemporary Art, Denver. Her book, String, Felt, Thread and the Hierarchy of Art and Craft (University of Minnesota Press, 2010) is the definitive text that examines the use of fiber in post-war American art and makes distinctions between “art” and “craft.” Janet Koplos, a New York City-based art critic, writer and contributing editor for Art In America. She is co-author of Makers: A History of American Studio Craft (2010) and author of Contemporary Japanese Sculpture (1990) and other books. She has written extensively on crafts and on American, Japanese and Dutch contemporary art and has published approximately 2,500 articles, reviews and essays in some two dozen periodicals over the last 30 years. In addition to Auther and Koplos, the discussion panel will include Judy Chicago, artist, educator, writer and feminist and David Eichholtz, art writer and curator at David Richard Gallery. Location: David Richard Gallery, 544 South Guadalupe Street, Santa Fe, NM 87501. Featured in the viewing room will be a small exhibition of a number of edition works on paper by Judy Chicago from Birth Project, PowerPlay, Dinner Party and Erotica series. UNDER THE INFLUENCE: INTERVIEW WITH RICHARD ROTH
 Richard Roth, “Dia De Los Muertos 3″, 2011, Flashe On Birch Plywood, 12 x 8 x 4″ Huffington Post Richard Roth was born in Brooklyn in 1946. He received his BFA from Cooper Union, and his MFA from Tyler. He is the former chair and current faculty member of the Department of Painting and Printmaking at VCU. He has shown extensively nationally and internationally. Ridley Howard: It’s very interesting to see work in a gallery show that spans over such a long period of time, that deals with a similar language of painting… but in such different ways. Can you talk a bit about the work in the show? Richard Roth: Of course, it’s a thrill to see the early work and the new paintings together. Bev Reynolds gave me a great opportunity to show the two bodies of work in adjacent galleries. For me, the most important thing about this exhibition involves my changing attitude toward painting. I painted for many years beginning around 1969, then in 1993 for more than 10 years my practice became more conceptual — creating collections of contemporary material culture. I returned to painting in 2005 with a renewed and revitalized interest, fueled by conceptualism and informed by postmodern attitudes. Now, painting for me is like returning home. I love the sense of play, and the slight show of hand, which is unexpected at first glance. Can you talk about how they happen? The small 3-D polychrome paintings are arrived at in a pretty traditional way, they evolve from the process of their making. I start painting on panels I use as prototypes — they are identical in size to the final paintings and they are quite roughly painted. I want to develop ideas as quickly as possible and the paintings change rapidly, I often use colored tape to change forms, whatever’s fast – things get messy and I usually just paint one side and the front, just enough for me to understand the painting. When I find the painting, when it’s right, I repaint it carefully on a new panel. I don’t love this final part of the process – re-fabrication — but I believe it is necessary for the idea of the work to be read clearly and without any kind of nostalgic patina. The first step of the process is the party, the second step is what the paintings demand. As to the “slight show of hand,” I see these paintings as humble in their very basic handmadeness. They have to be clean and clear, accurate as they need to be, but no more. I want them to be straightforward, not finish-fetish paintings. The pencil marks and slight deviations in the paint are like the squeaks made by the quick fingers of a musician playing acoustic guitar — simply natural bi-products. Interesting to think about work from the 70s’ and ’80s in relation to the discussion at the time. They seem to have a subversive jabbing humor that is different than the more self-contained spirit of the newer work, like the fire extinguisher in a Malevich-like wall arrangement. Not cynical at all… on one hand, they seem like a celebration of painting, but also maybe play with ideas of painting’s death. So many painters, and artists in general, love functional objects. As Robert Henri said, “They are so beautiful, so simple and plain and straight to their meaning. There is no ‘Art’ about them, they have not been made beautiful, they are beautiful.” We all learn from the straightforward beauty of the functional. In pieces like Fire Chief, I just riffed on those two worlds colliding. I don’t think the standard hierarchies of value are very useful today, and I think that attitude is evident in pieces like Fire Chief. Yes, perhaps you’re right — celebrating and mourning painting. I’ve always loved monochrome painting, but I’m not a believer of its doctrines, so this is my gently subversive monochrome, and when it ignites, the fire extinguisher may just save it. At one time, Minimalism was the highest of high brow… and now it is no big deal to correlate Judd, say, to Ikea shelving units… or a retail store display. It is a very accessible, middle-brow notion of style. That tension between the grand and the common seems very much a part of your work. Yes, I like that very much — the tension between the grand and the common — Judd and Ikea. Though I love form and structure in painting, I don’t consider myself a modernist strictly concerned with form, you know, the purity of form. I feel naturally aligned with more playful postmodern attitudes, enamored with product and package design, nature, architecture, masks, custom cars and fashion. Funny, I do see you as a game-player, but the work also feels quite earnest and romantic, or hopeful. Do you think those impulses overlap? I think I gave up painting for collecting in 1993 because I expected too much of painting. Painting could never live up to what I needed it to be. At that time, I decided to steer far from painting, and instead study and learn from the world, the endlessly amazing world, through making collections. Anthropology teaches us that all activities and artifacts express a culture, not just the “highest” — quotidian customs and rituals are as significant as exalted religious ceremonies. I love custom cars, fashion and the culinary arts, but in 1993 I was embarrassed by the pretentiousness of my own culture — painting. It wasn’t until I could see painting as just another subculture, not as the culture, not as high culture, that I could re-enter it with full enthusiasm and without cynicism. I can’t imagine a serious painter today who doesn’t have a love/hate relationship with painting. Doubt and certainty, playful engagement and tedium, breakthroughs and deadlock all coexist in the studio (as in life) and contribute to making simple gestures — rich carriers. I believe, the poet James Dickey wrote, “love-hate is stronger than either love or hate.” Do you think the limitations of the format — four-inch box, paint, shape — are actually liberating? I always liked Hickey’s essay about basketball, rules of the game being necessary for creative freedom. I think making art should be a no-holds-barred activity, but, now for me, my self-imposed limits have released a flood of new and unfolding ideas. It has been a little over six years since I began my current body of work — the 3-D paintings. When I first began making them, I was immediately excited but thought, “they are so small, so reductive, I will make five and run out of options.” What resulted was quite the opposite — every new painting suggested a dozen new avenues. The full-length interview can be read at BurnAway.Org. |
|
|
|
David Richard Gallery, LLC | 544 South Guadalupe Street, Santa Fe, NM 87501 | p (855) 983-9555 | f (505) 983-1284 David Richard Contemporary, LLC | 130 Lincoln Avenue, Suite D, Santa Fe, NM 87501 | p (505) 982-0318 | f (505) 982-0351 10:00 a.m. - 5:00 p.m. Tuesday - Saturday or by appointment
|
