Brian Fee

December 11, 2013, 10:36am

None More Black: Brice Marden at Matthew Marks Gallery

Brice Marden imbues surfaces with a palpable sensuality. Photos only hint at the evidence displayed throughout Graphite Drawings, Marden's latest solo exhibition at Matthew Marks Gallery in New York and the first of its kind devoted solely to his significant early works on paper. — Brian Fee, Austin contributor


Brice Marden | Patent Leather Valentine,1968, Graphite, beeswax, and red pastel crayon on a trimmed sheet of Strathmore natural white paper, 16 1/2 x 14 3/4 inches. © Brice Marden / Artists Rights Society (ARS), New York / Courtesy Matthew Marks Gallery.

Listed under: Review

November 24, 2013, 10:25am

Pop Up: KAWS at Galerie Perrotin New York and Mary Boone Gallery

Check this cause for excitement across NYC. Despite KAWS' global presence — including regular exhibitions in Tokyo and Hong Kong, plus an iconic float in the 2012 Thanksgiving Day parade and a redesign of the MTV VMA Moonman — the Brooklyn-based artist and designer hasn't had a proper solo exhibition locally in years. He's back in a big-time way, commanding both Mary Boone Gallery's downtown space and Galerie Perrotin's recently opened Manhattan base. — Brian Fee, Austin contributor

 


KAWS |
ANOTHER GENERATION LOST, 2013, acrylic on canvas, 94 x 144 x 1 3/4”. Photo: Farzad owrang. Courtesy Galerie Perrotin, New York.

Listed under: Review

October 14, 2013, 8:00am

White Light: Robert Ryman at Pace Gallery

Navigating a Robert Ryman exhibition is a dynamic pursuit. Activities include: looking at the sides of a painting as keenly as its front; walking past it multiple times to observe how the light hits the surface (is it absorbed? Does it reflect?); determining how it is mounted, and sometimes catching oneself at staring a bit too keenly at the wall around it. Ryman's six-decades-plus investigation into the infinite variations and complexities of that most neutral color — white — demands and inspires this, forever exploring paint's relationship to its support, to the room where it inhabits, and to the light that illuminates it. — Brian Fee, Austin contributor

Installation view. Photo by: Kerry Ryan McFate / Courtesy Pace Gallery. © 2013 Robert Ryman / Artists Rights Society (ARS), New York

Listed under: Review

October 09, 2013, 8:00am

Narrative Mode: Jane Fox Hipple at DODGEgallery

Contemporary abstraction aficionados: inhale a collective breath of joy when experiencing Jane Fox Hipple's (NAP #92) return to DODGEgallery on New York's Lower East Side. Then take out your notebooks. Hipple further contorts and pushes the limits of painting and total composition across a dynamic dialogue fittingly titled Corresponding Selves. — Brian Fee, Austin contributor

Jane Fox Hipple | Corresponding Selves, installation view. Photo by Jason Mandella. Image courtesy of the artist and DODGEgallery, NY.

Listed under: Review

October 07, 2013, 8:00am

Consistently Unpredictable: Josh Smith at Luhring Augustine

Don't paint Josh Smith into a corner. He's 100% likely to surprise you. Calling him “prolific” is about as obvious as saying Rene Magritte depicted a lot of men in bowler hats. In his latest exhibition at Luhring Augustine, Smith matches his tireless production and humanizing brushwork in two modern stalwarts: beach scenes and the mighty monochrome. — Brian Fee, Austin contributor

Josh Smith | Installation view, Luhring Augustine Chelsea. September 13 – October 19, 2013. Photos by Farzad Owrang. Images courtesy of the artist and Luhring Augustine, New York.

Listed under: Review

October 03, 2013, 8:00am

The Body Elastic: Erika Keck at envoy enterprises

Over the course of her young career, Erika Keck has been steadily minimizing canvas (or other traditional backing) in her paintings, composing instead with long, sticky-shiny stripes of acrylic paint, draped across stretcher bars or other structures. Keck unleashes her physical process in Limp, her latest foray at envoy enterprises on the Lower East Side.   — Brian Fee, Austin contributor

Erika Keck | Connection, 2013, acrylic paint, linen, wood panel, 35 x 16 inches. Courtesy the artist and envoy enterprises, New York.

Listed under: Review

September 23, 2013, 8:00am

Unraveling Ideals: Michael Raedecker at Andrea Rosen Gallery

Ah, suburban serenity, with its cookie-cutter domiciles by day and its after-hour socials. Michael Raedecker has worked from this bland utopia for years, picking it out in thread on monochromatic canvases. In tour, his latest exhibition at Andrea Rosen Gallery, he assumes an actively abstract relationship, cutting and resewing embroidered canvases into flitting memories and fitful dreams. — Brian Fee, Austin contributor

Michael Raedecker | place, 2013, acrylic and thread on canvas, 69 x 102 3/8 inches. © Michael Raedecker, courtesy of the artist and Andrea Rosen Gallery, New York.

Listed under: Review

August 06, 2013, 8:30am

Value Judgement: Jason Webb at grayDUCK Gallery

One person's trash is another person's treasure. That message resounds in Jason Webb's acrylic paintings, on view as Bulk Collection, his solo debut at Austin's grayDUCK Gallery. Rooting through these photorealistic accumulations of...stuff...we discern degrees of worth, on what is kept and what is left behind. — Brian Fee, Austin contributor

Jason Webb | Discard Pile 22, 2013, acrylic on illustration board, 10 x 8 inches. Image courtesy grayDUCK Gallery, Austin.

Listed under: Review

July 22, 2013, 9:00am

Abstract Planking: Jason Middlebrook at Lora Reynolds Gallery

Painting on wood panels is old-school, the most popular way of supporting media until canvas took over in the 16th century. Jason Middlebrook isn't trying to reinvent the wheel by painting directly onto internally cut trunks from the local mill. But in relocating from Williamsburg to Columbia County in upstate New York seven years ago, the artist began infusing his nature-minded oeuvre with the natural landscape. The Line That Divides Us, Middlebrook's debut solo exhibition at Lora Reynolds Gallery in Austin, is a distillation of his most recent work: subtle compositions on their own sublime hardwood slabs. — Brian Fee, Austin contributor

Listed under: Austin, Review

July 16, 2013, 8:30am

Self Conscious: Pat Snow & Matthew John Winters at grayDUCK Gallery

It seems almost fated that Texas transplants Pat Snow and Matthew John Winters would exhibit together. The mellifluous title to their grayDUCK Gallery duet Wintersnow Snowinters echoes the innate, mantra-like concentration evident in their respective works, combining images and memories to sublime conclusions. — Brian Fee, Austin contributor

Listed under: Review

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