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May 25, 2018, 3:53pm

NAP Artist at Auction: Njideka Akunyili Crosby

New American Paintings alum, Njideka Akunyili Crosby (Northeast issue #93) went to auction at Sotheby's New York on May 16th.  The winning bid landed at $3,375,000 - over $2.5 million above the estimate.  Her painting, Bush Babies, was featured in Sotheby's CREATING SPACE: ARTISTS FOR THE STUDIO MUSEUM IN HARLEM: AN AUCTION TO BENEFIT THE MUSEUM'S NEW BUILDING. Other artists featured in the auction include Jardan Casteel, Mark Bradford, Sam Gilliam, Rashid Johnson, Glenn Ligon, Julie Mehretu, Lorna Simpson and Lynette Yiadom-Boakye.  

 

For the online catalog and more information please visit:

Sotheby's New York

Njideka Akunyili Crosby
Bush Babies
2017
acrylic, transfers, colored pencil and collage on paper
6 x 5 feet

photo coutesy of the artist and Sotheby's 

Listed under: Art Market, Art World, NAP News

May 24, 2018, 5:24pm

NAP Artist on View: Geoffrey Chadsey

New American Paintings alum, Geoffrey Chadsey (Northeast issue #68), on view at Jack Shainman Gallery.  

GEOFFREY CHADSEY: THAT'S NOT IT
May 17 - June 23, 2018

 

For more information please visit:

Jack Shainman Gallery
524 West 24th Street
New York, NY 10011
212 337 3372

 

installation image: Jack Shainman Gallery, Geoffrey Chadsey, GEOFFREY CHADSEY: THAT'S NOT IT, May 17 - June 23, 2018
photo courtesy of Jack Shainman Gallery 

May 23, 2018, 6:19pm

NAP Artist at Auction: Jordan Casteel

New American Paintings alum, Jordan Casteel (Northeast issue #116) went to auction at Sotheby's New York on May 17th.  The winning bid landed at $81,250 - over $60,000 above the estimate.  Casteel's painting, Lost Tribes, was featured in Sotheby's CREATING SPACE: ARTISTS FOR THE STUDIO MUSEUM IN HARLEM: AN AUCTION TO BENEFIT THE MUSEUM'S NEW BUILDING. Other artists featured in the auction include Njideka Akunyili Crosby, Mark Bradford, Sam Gilliam, Rashid Johnson, Glenn Ligon, Julie Mehretu, Lorna Simpson and Lynette Yiadom-Boakye.  

 

For the online catalog and more information please visit:

Sotheby's New York

 

Jordan Casteel
Lost Tribes
2018
oil on canvas

photo coutesy of the artist and Sotheby's 

May 22, 2018, 2:56pm

NAP Artist on View: Summer Wheat

New American Paintings alum, Summer Wheat (Northeast issue #98 and #104), on view at Andrew Edlin Gallery

SUMMER WHEAT: Gamekeepers
May 4 - June 17, 2018

 

For more information please visit:

Andrew Edlin Gallery
212 Bowery
New York, NY 10012
212 206 9723

Summer Wheat
Gamekeepers
2018
acrylic on aluminum mesh
68 x 192 inches

photo courtesy of Andrew Edlin Gallery

May 19, 2018, 3:22pm

NAP Artist on View: Gina Beavers

New American Paintings alum, Gina Beavers (Northeast issue #116), on view at Michael Benevento:

VAN GODDESS AND THE MASTURBAKERS
APRIL 7, 2018 - MAY 26, 2018

 

For more information please visit:

Michael Benevento
3712 Beverly Boulevard
Los Angeles, CA 90004
323 874 6400

installation view: Michael Benevento, Gina Beavers, VAN GODDESS AND THE MASTURBAKERS, April 7, 2018 - May 26, 2018
photo courtesy of Michael Benevento

May 18, 2018, 3:29pm

NAP Artist on View: John Bankston

New American Paintings alum, John Bankston (Pacific Coast issues #55 and #109), on view at Walter Maciel Gallery:

The Sky above Us
May 5 - June 30, 2018

 

For more information please visit:

Walter Maciel Gallery
2642 s. la cienega boulevard
los angeles, ca 90034
310 839 1840

John Bankston
Tart and Sweet
2018
oil and mixed media on linen
36 x 48 inches

photo courtesy of Walter Maciel Gallery

April 27, 2018, 1:47pm

A Celebration in Dallas: Nicole Eisenman at One Night Only

Quietly nestled in The Cedar’s neighborhood, just south of downtown Dallas, is a humble shotgun style historic home. Within the past few years this private residence has functioned as a flex space, an arts incubator of sorts, hosting private events with renowned outsider and folk artists and other community focused creatives. The house is operated and managed by a cohort of neighborhood designers and artists, one of which is conscientiously preserving the character of overlooked structures and houses in The Cedar’s, with this shotgun residence being a shining example of his efforts. - Arthur Peña, Dallas Contributor

 


Photo by Kevin Todora courtesy of Anton Kern Gallery

Listed under: Review

April 21, 2018, 9:23am

Animal Hearts and Alprazolam Eyes: Nikki Maloof at Shane Campbell Gallery

They seem to be … scanning …  searching … through the white walls and white light, past Cermak … beyond Brooklyn … these massive, searching, scanning, yearning, alprazolam eyes, wide and wet with an anxious energy belayed by the piano-wire purse of their mouths, and it's a funny thing, seeing this menagerie—a stallion deep and dark and strong and arresting as the abyss; a wind blown canine the color of youth soccer and science fair trophies, its ears moving like a model's hair; cats with the casual repose of Instagram influences, languid echoes of Versailles; a bat neigh-indistinguishable from its night, wings face fur rendered in dried russet, a tropological coagulate crowned, like all its mates, up to and including the dead fucking fish, with those eyes—these eyes, with complete disregard for science and anatomical fidelity, tasked not with anything so brute and beautiful as physiology but instead being bent towards the philosophical, giving every animal here a look that's not of them, and not of us—the eyes aren't human; more super-human, really, uncanny, like anime eyes whose very size and depth seems capable of expressing exigency beyond anything but reality—but is of a universal human feeling, that painful, wistful vibe, hope tinged with fear as we scan the horizon, check the sidewalk, hold our breath for a text, the scars in our eyes reflected back at us—with vibrancy and humor and the alienation requisite for recognition—in Nikki Maloof's creatures, the Arecibo Observatories set within their skulls scanning, searching, complete heterochromia combing the distance, the Klonopin horizon, for an intelligence they don't fully understand, every pet part of SETI … – B. David Zarley , Chicago Contributor 


Nikki Maloof | Her Name Is Ut Pictura Poesis, 2018. Oil on canvas. 72 x 61 inches. Image courtesy of the artist and Shane Campbell Gallery, Chicago. Photo by Evan Jenkins.

Listed under: Review

March 05, 2018, 9:04am

A Conversation: Nina Chanel Abney

When I met Nina Chanel Abney on the occasion of her FOCUS show at The Modern in Fort Worth, she had just returned from South Africa where she spent three weeks. This much needed vacation was taken after her critically acclaimed duel solo shows opened at both Mary Boone Gallery and Jack Shainman in New York on the same night. Through her friendly smile, she mentions that she will be flying out to Paris in the morning for her show at Palais de Tokyo then flying back to open her solo show in her home town at the Chicago Cultural Center on what would end up being a very snowy day. About a week after our conversation, Abney was a recipient of a grant from the Tiffany Foundation. Needless to say, she has been busy. - Arthur Peña, Texas Contributor


Hobson's Choice, 2017, Acrylic and spray paint on canvas, 84 ¼" x 120 ¼", Nasher Museum of Art at Duke University; Museum Purchase.

Listed under: Interview

February 25, 2018, 8:45am

About the Shape of It: Magalie Guérin at Corbett vs Dempsey

God, let's just start with a list, right?, and if it seems a bit daunting, just imagine poor fucking Linnaeus, setting forth to categorize sundry and all living things, whereas this is but a brief run-down and accounting for of some of the shapes-a sampling of the vast geographic ecosystem-of Magalie Guérin's (NAP #119) worlds, shapes anatomical/biological-flesh-colored trash bags, barred teeth, raw nails, conch snail shells-shapes mechanical-vintage car grills and taillights and doors and bench seats, mid-century modern chairs, shafts of lamp light from a noir gumshoe's desk, perfume bottles, awl handles, backsplash tiles, famished walls with studs showing, the glowing jukebox flanks of a sci-fi set, the curled remnants of a high school art class pastel set's cover paper, the ribs of rent cardboard-all nestled up amongst each other in the cool colors of pallid death or the never-living, enamel and sclera and cream and subcutaneous fat, contractor wall color and brutalist concrete and refrigerator light … and the paintings are none of those things, not really; well, they are all of those things, but only to me, on a Sunday morning in February, aided/impeded by time, distance, memory, an exercise in form until the very end … - B. David Zarley, Chicago Contributor


Magalie Guérin | Untitled, 2017. Oil on canvas on panel. 20 x 16 inches. Image courtesy of the artist and Corbett vs Dempsey, Chicago.

Listed under: Review

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