Francine Kaslow Miller reviewed Andrew Masullo's recent exhibition at Steven Zevitas. View and read the review by clicking on the image below:

It was great watching David do a wall installation of 50 drawings for his show Amy Winehouse. Please come by and check it out through February 25th. Check out this time lapse video we made of David in action!

Painting’s power led the way in strong shows

By Cate McQuaid |  DECEMBER 28, 2011

“Not About Paint,’’ a keen group show curated by Evan J. Garza at Steven Zevitas Gallery had very little paint in it, but every work explored painting’s conceits, from Alex Da Corte’s floor piece made with soda to Alex Hubbard’s video in which he used a car as a canvas.

We are pleased to announce that Andrew Masullo will be included in the 2012 Whitney Biennial. He will also be the focus of a solo exhibition at the VOLTA NY art fair in March at the Steven Zevitas Gallery booth. Click here to see a full list of invited artists to the Whitney Biennial.

Ben's installation, Academy of Light,in Copenhagen, was the centerpiece of a music video by a Danish rock band. Check it out here > http://vimeo.com/33209628

From today's Boston Globe...

Small revelations | By Cate McQuaid

Andrew Masullo paints on his lap. That explains the smallish scale and strange intimacy of his abstract paintings, up at Steven Zevitas Gallery. The artist has been painting for years and has developed something of a cult following, perhaps because he appears to disregard theory, trends, and concepts in order simply to paint.

Not that we cannot ascribe theories and apply the art world to Masullo. He uses candy colors and flat forms that sometimes deepen to suggest quite shallow space. His works are unassuming, yet focused and even weird - like Milton Avery’s paintings, in mood, if not in imagery and tone.

Escher-like patterns appear, such as the conjoined diamond shapes undulating through “5266.’’ Two forms square off across a bubblegum-pink ground in “5239,’’ a jagged red shape cuffed in white and a royal blue cloud. And “5260’’ fills one red corner with a bevy of swelling bright shapes; it’s like a high window looking in on a balloon-blowing contest.

The accumulation of 25 such canvases is even more riveting than a single piece. One is like a shy fellow at a cocktail party, fading into the background. With several, the party somehow becomes a shy person’s paradise, and the conversation turns in wonderful directions. Masullo’s paintings address and coax to life small, sometimes hidden things. When tended to, they thrive.

In this video by James Kalm, aka the painter Loren Munk, Saltz praises the work of Andrew Masullo at a 2010 Feature Inc. exhibition of Masullo’s work in New York’s Lower East Side.

Museum of Contemporary Art, Chicago
UBS 12 × 12: New Artists/New Work
October 7-30, 2011

Reception for the artist: October 11th, 5-8 pm, artist talk 6pm

DETAIL, The Doctor's Wife, Cut paper, paint, acetate, glue on paper, 6 x 10 feet

Toebbe's meticulously detailed paintings, collages, and drawings comprise a fascinating world of domestic interiors reconstructed from memory and depicted from multiple viewpoints. Her three new large-scale works made of painted paper—The Doctor's Wife, The Grocer's Wife, and The Photo Engraver's Wife—are based on conversations with her mother, mother-in-law, and step-mother-in-law that centered on fond memories of their childhood kitchens and the difficulties of being a wife and mother in the 1940s and 50s. With these works, the artist considers the role of women as homemakers and the ongoing centrality of the kitchen within domestic life. - Julie Rodrigues-Widholm

Originally from Cincinnati, Ohio, Toebbe received a BFA from the Cleveland Institute of Art and her MFA from Yale University, and now resides in Chicago. Toebbe’s work has been shown in solo and group exhibitions in Chicago, New York, Boston, Cincinnati, and San Francisco, among others.

Suffused with energy, at odds with abstraction
By Cate McQuaid, Globe Correspondent
September 27, 2011

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You wouldn’t know it from looking at his apparently abstract canvases, but Jered Sprecher paints objects. Gemstones, flint knives, and Tupperware have all been inspirations. But his approach to painting, evident in his exhibit “Als Ick Kan’’ at Steven Zevitas Gallery, is not representation. The object is a taking-off point, a structure he can prod and perhaps explode with his painterly techniques. The results are dense, vital, and refreshingly cockeyed.

The exhibition’s title refers to a phrase found on some of Jan van Eyck’s works; it means “as best I can.’’ Van Eyck’s best had to do with portraying the illusion of reality - space, volume, light. Sprecher works toward an entirely different end.

Most of the time, it’s impossible to recognize what he was painting in the first place. In the jagged, startling “Affinity,’’ it looks as if the artist has taken scissors to a garishly colored abstract expressionist work, cut it into shards, and hung it drifting among sharp white angular banners. There’s a sense of space - the center recedes at top and bottom, but in a graphic-art kind of way, with triangles of color spiking into the picture plane. The brittle white sections break up the luscious, gaudy brush strokes in an almost obscene way, like redacted text.

The smudgy, atmospheric yellow-green ground of the small painting “Inside’’ might depict vapors at a toxic waste site. Over that, Sprecher outlines long, horizontal parallelograms, suggesting shelving. Between and around these, he paints a curtain of orange stripes. The parallelograms act as windows to the more expressionistic background, but they also hint at three-dimensional space, carved out of the flat stripes.

None of Sprecher’s paintings look alike. They might have been painted by different artists. They do share a nuanced viewing experience, and a decidedly fractious tone that arises from layering a variety of techniques in a manner that almost pits paint against picture. In the end, that opposition shakes out abstraction in a rough, uneasy way, full of unresolved, potent energy.

Als Ick Kan

September 8 - October 15, 2011
Artist Reception: September 9, 5:30

Click image to view preview of exhibition.