Apr 16, 2013
What's Up At Boston-Area Galleries, April 16, 2013
By Cate McQuaid
Each of Ann Pibal’s succinct abstract paintings moves the eye nimbly over the picture plane. Sharp angles, crisp lines, sometimes tangy color values, and, in her most recent pieces, breathy brushwork all portray a quizzical intent. She’s like a physicist scribbling equations over a white board, puzzling out vital, small-scale unknowns.
But her methodical equations, in the acrylic-on-aluminum paintings now on view at Steven Zevitas Gallery, have a graceful simplicity you don’t see on many white boards: straight lines, intersections, and little trolley-like loafs of color that ride along the lines, adding up to a system of weights and balances.
Look at “EXTS,” in powdery gray-blue and red. The red lines could almost map a small downtown area, with five shooting off at clean angles from a central horizontal stripe. Some of them carry freight: lean black bars, flat sandwiches of beiges and browns. A fat, red bar streaks across the top. At the bottom, a second red bar doesn’t quite reach the right border. It aborts with an alarming ragged tear. Amid the rest of the perfectly straight edges here, it’s like a pimple on a model’s face.
Pibal’s paintings, like those of Turner Prize winner Tomma Abts, are resolutely controlled. At times, they feel arid and confined. So it’s daring when she introduces the painter’s hand, as she does in several works here. “THFR” features more straight lines, with several candy-colored ones peeling upward, splintering from their central arteries. Pibal sets them against a gray ground, painted in wide, lush strokes, tinged with color. That ground reads as a driving rain, and opens the painting to space, drama, and heart.
Works like these are no less precise, but the artist pits that exactness against something less about motion, and more about emotion — which may just blow these delicate constructions of lines and intersections right down.
Feb 27, 2013
Jan 9, 2013
Dec 26, 2012
Best shows of 2012 in Boston-Area Art Galleries by Cate McQuaid
"For his exhibit at Steven Zevitas Gallery, Peter Opheim painted figures he had built out of clay. The large-scale paintings made something cute and toy-like confrontational and strange, articulated in loose, sometimes aggressive strokes. Opheim set some of his blobby people in pairs and groups, suggesting sex and other activities, unnervingly blending themes of childhood and adulthood."
Dec 17, 2012
December 14th - January 26th, 2012
Reception: Friday, January 4th, 5:30 pm
White’s hard-won paintings arrive from the artist’s rigorous engagement with painting’s most basic elements: color, shape and composition. In her recent work, White has moved towards eliminating value contrast. The resulting paintings are nearly monochrome, yet, paradoxically, the move has led to images that have a more ambiguous and deeper space. Also new to this body of work is the introduction of curved forms into White’s traditionally hard-edged pictorial vocabulary. As White states:
“Through wrangling with simple abstract forms and color, I am finding a new complexity and different emotive range. I am continuing to try to understand and to develop the contradiction of a painting as nearly depicting a pictorial space while remaining entirely abstract.”
Allowing for viewers to have an immediate relationship with her work has always been of paramount importance to White. The twelve paintings that comprise New Work are among the largest White has made to date, yet, at an average of 10 x 8 inches, they are still extraordinarily intimate works that set up a personal conversation with the viewer.
White’s work has been exhibited extensively since the late-1990s. Solo exhibitions include a 2011 show at Jancar Jones Gallery in Los Angeles; the gallery will present her work again in 2013. Group exhibitions include shows at the San Jose Institute of Contemporary Art and The Art Museum of Los Gatos. This is White’s first exhibition at Steven Zevitas Gallery.
The artist will be in attendance for an opening reception on Friday, January 4th from 5:30 – 8:00 PM. For additional information, please contact Steven Zevitas at 617.778.5265 (ext. 22). Gallery hours are Tuesday through Saturday, 11AM – 5 PM.
Nov 9, 2012
Nov 8, 2012
A few words and installation shots on the New American Paintings Blog...
Michael Krueger’s Fluorescent West: Drawings & Animation at Zevitas, features the largest work by the artist to date. In addition, Zevitas notes in his Press Release that, “There are two notable changes with this body of work: firstly, unlike much of his earlier work, the human figure is now absent, thus making the landscape the sole bearer of content; secondly, while colored pencil continues to be Krueger’s dominant medium, his newest work also utilizes watercolor and acrylic paint.” The full release can be found on the gallery website, here.
Oct 26, 2012
Now on view at the Steven Zevitas Gallery...
Fluorescent West brings together six new works on paper, the largest Krueger has executed to date, as well as his first animation for a gallery exhibition. (Krueger recently contributed fifteen animations to the documentary, Drop City.) There are two notable changes with this body of work: firstly, unlike much of his earlier work, the human figure is now absent, thus making the landscape the sole bearer of content; secondly, while colored pencil continues to be Krueger’s dominant medium, his newest work also utilizes watercolor and acrylic paint.
In Fluorescent West, Krueger reexamines 19th-Century depictions of the American West through a contemporary lens. The West – its vast physical spaces and mythologized psychological openness - has long been Krueger’s primary subject, along with themes of utopianism, escapism, and hippie culture. In the late 19th-Century, artists such as Thomas Moran and Albert Bierstadt created work that actively sought to glorify the West, and, in many ways, their conception of the West’s wild and wonder continues to inform our innate sense of the region. Krueger simultaneously embraces and questions the myth of the West, and, in doing so, opens up new avenues for understanding it.
Color has always been an integral part of Krueger’s work. The drawings and animation in Fluorescent West employ the use of unnatural colors and caustic color combinations, which have more in common with contemporary industrial design than nature. If Moran and Bierstadt made use of light to evoke glory and wonder, then, by contrast, Krueger conjures an almost artificial light in his work that, like fluorescent light, can evoke detachment and disorientation. As Krueger states:
“This use of color and light will create a quick reading of unreality in the works but also, as vivid bright colors do, suggest optimism and a fresh reconsideration of the vistas depicted.”
Krueger has been an Associate Professor at the University of Kansas, Lawrence, since 2000. Recent solo exhibitions include shows at Packer/Schopf in Chicago (2011), Bennington College (2008), Sunday L.E.S. in New York City (2007) and the Beach Museum of Art in Manhattan, KS (2007). Recent group exhibitions include shows at The Drawing Center in New York City and the Kala Art Institute, both in 2012. Krueger’s work is held in numerous museum collections, including those of the Boston Museum of Fine Arts; the Fogg Art Museum, Harvard University; the Kansas City Art Institute; the Denver Museum of Art; and the Nelson-Atkins Museum.
This is Krueger’s third one-man exhibition at Steven Zevitas Gallery. The artist will be in attendance for an opening reception on Friday, November 2nd from 5:30 – 8:00 PM. For additional information, please contact Steven Zevitas at 617.778.5265 (ext. 22). Gallery hours are Tuesday through Saturday, 11AM – 5 PM.
Sep 19, 2012
We will be participating in Art Platform, Los Angeles which begins next week. The fair, which runs the 28th through the 30th, "...will debut its second edition at the historic Barker Hangar at the Santa Monica Airport, just minutes from the beach and the Santa Monica Pier. The move to the Barker Hangar emphasizes Art Platform – Los Angeles’ commitment to greater Los Angeles as an international art capital, and to the growth of the fair as an essential event in the ever expanding art world. As the premier art fair in Southern California, Art Platform – Los Angeles seeks to capture the very essence of this great city – light, space, innovation, and recreation.
The 2012 edition of Art Platform – Los Angeles will bring together both local and international artists, dealers, collectors, museums and art enthusiasts, to engage in a vibrant exchange of art and culture. Art Platform – Los Angeles will continue to provide unprecedented access to the artists, institutions and collections that define the Los Angeles art scene through its outstanding selection of innovative galleries, extensive VIP program, stimulating Open Platform speaker series, and special programming."
Sep 18, 2012
Jean’s Vision (2011), one of Anne Toebbe’s works in the group show “Show #7: Sunday Paintings for a Rainy Day” at Field Projects in Chelsea, measures only 12 inches by 16 inches, but it gets plenty done within that tiny space. Her view of a precious little living room is filled with myriad patterns and textures that coalesce to form a humming panel. There’s a hint of Jonas Wood, but her work is more ordered than his, all of the elements—tables, a Christmas tree (dig those tough, intricate branches), birds, a nativity scene and so forth—balanced against one another within its borders. The architectural space has unfolded or collapsed, and the walls seem to have been placed on their backs. (Is Ms.Toebbe floating above the room or drifting about within it as she assembles the work?) Space is rendered, perhaps, as a series of memories, various objects and scenes in the process of being reordered and reassembled.
Anne Toebbe | ‘Jean’s Vision,’ 2011, cut paper, paint, glue on panel, 12 x 16 inches. (Courtesy the artist and Field Projects)
Original Post on GalleristNY.com
Sep 5, 2012
September 7 - October 13, 2012
Reception: Friday, September 7, 5:30 pm
Boston –Steven Zevitas Gallery is pleased to present Chuck Webster, an exhibition of new paintings and works on paper by New York-based artist, Chuck Webster. The exhibition will be on view from Friday, September 7 through Saturday, October 13, 2012, with an opening reception Friday, September 7.
Since his 2010 show at the gallery, Webster’s painting practice has become ever more intertwined with his intuitive drawing process, and one result of this quickening is that the paintings have become significantly larger in scale. While earlier paintings tended to focus on a centralized “image,” his latest work boasts nuanced surfaces activated by bounding, quivering lines; while earlier paintings were often given titles alluding to vague and personal image sources, his recent paintings all remain untitled, a decision which underpins Webster’s interest in imbuing his work with a greater purity.
The beauty that Webster is able to conjure in his paintings is an unsettled one. Each painting is effectively a labored distillation of the visual phenomena that catch his attention. While original source material may be hinted at, his finished paintings speak more about process than image. It is only through many “ moves” that Webster eventually arrives at a final image. For Webster, these paintings are about:
“The joy of making and how things can change one’s view of the world. How one can look into them and see so far in the distance and so far into themselves at the same time. I like the way children look at paintings. I once had a child look at my work and say that it looks like the view from inside the heart going out through the ribcage. My work is about knowing and not knowing, about being a civilized innocent.”
Recent one–man exhibitions of Webster’s work include shows at ZieherSmith in New York City and ACME gallery in Los Angeles. His work has been included in numerous group exhibitions, including a 2011 show at Kirk Hopper Fine Art in Dallas that also featured the work of Chris Martin, Andrew Masullo and Forrest Bess. Webster is included in the collections of the Baltimore Museum of Art, the Dallas Museum of Art, the Museum of Fine Arts, Houston, and the Whitney Museum of American Art, among others. Webster’s work is included in the influential book “Painting Abstraction,” published by Phaidon in 2010. This is Webster’s third one-man exhibition at Steven Zevitas Gallery.
The artist will be in attendance for an opening reception on Friday, September 7th from 5:30 – 8:00 PM. For additional information, please contact Steven Zevitas at 617.778.5265 (ext. 22). Gallery hours are Tuesday through Saturday, 11AM – 5PM.
Jul 30, 2012
Galleries around Boston: ‘The Space Between’ and beyond - By Cate McQuaid, July 24, 2012
Last summer, Steven Zevitas Gallery mounted a crackerjack show, “Not About Paint,” that examined how painting has lately flirted, danced, and occasionally mated with sculpture. Now Zevitas offers a buzzy companion exhibition, “The Space in Between,” which addresses artists experimenting with a host of technical processes, including photography.
It is a more contemplative, less antic show. Little intrudes on the viewer’s space. A couple of projectors sit on the floor, and Zevitas has built a darkened video room, but the projected works — painterly videos by Colin Snapp and the team of Dave Miko and Tom Thayer — promote quiet, intimate engagement.
Miko and Thayer’s “A Figure’s Strange Triggered Change” features video projected onto an aluminum panel, which sports painted marks that relate to passages in the video. The projected images verge on abstract; they’re shadowy and overexposed, saturated with color that pings off the aluminum. Its low-to-the-ground installation encourages the sense that you’ve happened on an animated hieroglyph with hallucinogenic color and hints of narrative.
Mariah Robertson and Tamar Halpern use darkroom techniques to create abstractions, such as Robertson’s lush “85,” which drifts with a drippy teal grid over white, interrupted by a black curtain shot with tiny lightning bolts. Ned Vena’s untitled piece made out of adhesive and vinyl on two steel doors looks like an Op Art painting. Lines converge into shimmering swells that imply volume. Sam Moyer’s large ink-on-canvas piece, also untitled, could be a photo of the surface of black water. In fact, Moyer crumpled her canvas to create that rich surface, before mounting it on a wood panel.
There’s nothing new about artists experimenting with techniques; it’s in the job description. The point is that it breaks down boundaries between mediums we have in the past seen as inviolable. Even so, painting ultimately provides the DNA for all these works; everything refers back to the plane and surface of a canvas, and the illusion of depth.