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  • VOLTA NYC 2015

    Steven Zevitas Gallery will be at VOLTA NY, March 5 – 8, 2015. The booth will feature Franklin Evans and Ann Pibal.

    VOLTA NY is an invitational fair of solo-artist projects and is the American incarnation of the original VOLTA show, which was founded in Basel in 2005. VOLTA NY was conceived in 2008 as a focused, curated, boutique event that is a place for discovery. The exhibition showcases relevant contemporary art positions regardless of the artist’s or gallery’s age. By refocusing on artists through solo projects, VOLTA NY promotes a deep exploration of the work of its selected participants. These galleries must maintain deeply meaningful connections with their artists and follow them throughout their careers. In turn, invited galleries exhibit in an elegant venue, elevating their respective platforms for an experience mutually beneficial to fair visitors and the galleries alike.

    In March 2015, VOLTA NY inaugurates its new home location at PIER 90 in the neighborhood of Hell’s Kitchen, New York City. The landmark move positions it adjacent to Piers 92 and 94, the longtime platform for its sister fair, The Armory Show, and the focal point of March fair season. Moving to PIER 90 allows for synergy between both fairs and their collector bases while retainingVOLTA NY's distinct character and rigorous curation — the foundation for VOLTA's mission since its 2008 debut.

    VOLTA NY is a platform for challenging, often complimentary — and sometimes competing — ideas about contemporary art. Single-artist booths functioning more closely to proper exhibitions rather than traditional presentations proliferate the contemporary fair scene now. VOLTA NY has made solo projects its mandate and foundation from its inception in 2008, offering a prime opportunity to discover the practices of today's most salient artists while refocusing the art fair experience back to its most fundamental point: the art itself.

    Visit Volta Website

  • Boston Globe Review of Franklin Evans, juddpaintings

    With Artist Franklin Evans, An Immersive Experience
    By Cate McQuaid, Boston Globe, November 18, 2014
    To read the full review online, click here.

    Franklin Evans drops viewers into his own weird wonderland. Once you’re down the rabbit hole, you may be as awed and dismayed as Alice herself.

    Evans has two shows up now, at Montserrat College of Art Gallery and Steven Zevitas Gallery. Walk into his installation at Montserrat, and it’s like stepping inside a painting. Colors and lines are everywhere: on walls, on the ceiling and floor; in corridors of vertical strips of colored tape. The same is true, on a more modest scale, at Zevitas.

    Evans engulfs us in his process, too. He starts with writings by minimalist icon Donald Judd, who was a critic attuned to technique. Snippets of Judd’s reviews appear throughout both shows, and provide launching points for Evans’s painterly meditations. For instance, Judd describes in detail an abstract work of squares within squares, orange at the center and gray on the edges.

    High on one wall at Montserrat, Evans has a painting that fits that description. At Zevitas, several discrete paintings, all on unstretched canvas, accompany the installation, and in one, “circumjacentoffsetloweredgeredorangeochergray,” the same color scheme arises in a jittery patchwork of images. Although painted, they look photocopied or scanned, groggily blinking with references to artists such as Matisse and Sigmar Polke.

    The installations, too, roil with art-history rumination. We’re not just inside Evans’s painting, we’re inside his imagination, which roams compulsively from his childhood to his art idols to naked people, and more.

    The artist searches the Internet for images of his paintings, or those of others, and prints them out, no matter the quality. He recycles pictures of previous installations. In his paintings, he may start with a small reproduction of a fraction of a painting by, say, Polke (“polkedots,” at Zevitas). He’ll zoom in and reproduce repeatedly, then paint what he sees.

    In the paintings, the result is clever and visually exciting, but half-chewed, as if Evans hasn’t quite integrated his art-history lessons. The installations, while brimming with historical imagery, crackle with originality. They demonstrate how one man’s overflowing mind reflects two great rushing rivers of culture — art history and the whitewater of the Internet.