Instructors at Large

Contrast and Context by Pat Lipsky

  • October 29, 2014


Pat Lipsky, Contrast and Context, 2014. Twenty-eight color relief print on Sekishu paper applied to Magnani Incisioni paper using a Chine-collé process, 18 x 29 1/4 in.

Pat Lipsky, Contrast and Context, 2014.
Twenty-eight color relief print on Sekishu paper applied to Magnani Incisioni paper using a Chine-collé process, 18 x 29 1/4 in. Published by Ribuoli Digital.

Ribuoli Digital has announced an inaugural print edition with Pat Lipsky that will debut at the Edition/Artists’ Books Fair, in Chelsea,  November 6–9. Eleven years in the making, Contrast and Context is a subtle, demanding exploration—revealing that nothing is ever strictly black and white, and that in any context, what is defining is contrast. Read more: Ribuoli Digital.

Knox Martin in Art in the Making

  • October 28, 2014


Art in the Making is an exhibition of work by artists who have studied or taught at the Art Students League of New York and the New York Studio School of Drawing, Painting & Sculpture. Both schools celebrate anniversaries next year: the Art Students League, its 140th and the Studio School, its 50th. The show includes work by Milton Avery, Thomas Hart Benton, Lee Bontecou, Helen Frankenthaler, Stephen Greene, Jackson Pollock, and David Smith, as well as current league instructors Knox Martin, William Scharf, and Larry Poons. Art in the Making opens October 30, 2014 at FreedmanArt (25 East 73rd St., NYC) and continues through January 31, 2015.

Knox Martin, Garden of Time, 1956. Oil on canvas, 60 x 53 in. ©Knox Martin/Licensed by VAGA, New York, NY

Knox Martin, Garden of Time, 1956. Oil on canvas, 60 x 53 in.
©Knox Martin/Licensed by VAGA, New York, NY

Marilyn J Friedman at Edward Hopper House
and Blue Hill Art

  • October 27, 2014


Blue Hill Group

Marilyn J Friedman will be exhibiting five sculptures (above) in Revealing Common Ground at the Blue Hill Art & Cultural Center, Pearl River, NY, which opens in November 2014 and continues through April 2015. She will also be exhibiting a sculpture in Small Matters of Great Importance: En Route, at Edward Hopper House Art Center, Nyack, NY, from October 25, 2014 through January 4, 2015.

Jerry Weiss on the Sects of Figurative Painting

  • October 20, 2014


Paul Cézanne, Boy in a Red Waistcoat, 1888–90. Oil on canvas, 35 1/4 x 28 1/2 in. Collection of Mr. and Mrs. Paul Mellon, in Honor of the 50th Anniversary of the National Gallery of Art. National Gallery of Art.

Paul Cézanne, Boy in a Red Waistcoat, 1888–90. Oil on canvas, 35 1/4 x 28 1/2 in. Collection of Mr. and Mrs. Paul Mellon, in Honor of the 50th Anniversary of the National Gallery of Art. National Gallery of Art.

In “Boy in a Red Waistcoat,” his latest article for the “Master Class” column of Artist’s Magazine, Jerry Weiss suggests Cézanne had a connection to classical sources far greater than many of today’s classical realists would acknowledge. “Cézanne was dedicated to supplementing the study of the old masters with the observation of nature,” writes Weiss, “an ambition that we can hardly improve upon. He was less interested in the surfaces of classical paintings than their structural design, and his eye for composition was redoubtable.” Weiss’s article (PDF here) appears in the December 2014 issue of the Artist’s Magazine.

Reginato Is a Sculptor Who Paints

  • October 16, 2014


Teal copy_1

Peter Reginato is one of five artists exhibiting in Painters Who Sculpt/Sculptors Who Paint, which opens at Noho Gallery (530 West 25th Street) on November 4, 2014. You can read and flip through an online catalogue of the exhibition, which includes an introductory essay by Archie Gunn.

Peter Reginato, LOL, 2011. Stainless steel and enamel, 45 x 42 x 37 in.

“I have been working with welded steel as an artistic medium since 1969,” explains Reginato. “Drawing has always been an important aspect of my work. It is important for me to make my own shapes by hand, rather than rely on found objects or neutralizing the forms, color, or compositions. I feel that pushing the issue of drawing, gives my work a depth not found in the formalist and minimalist art world or work that relies on mechanical tracing.” The exhibition will continue through November 22.

Glickos_basement_1

    There is no one way of drawing that is right. Nor is it good to be dependent on any one way of doing things. — John Sloan