“Living with art, I am surrounded by thoughts, visions and conversations by other artists. It’s all very intimate.”
Two artist couples that are good friends have an exhibition and show together for the first time. That seems to me as good a reason as any to have a show.
2015 was the Year of the Whitney.
To say that Jackie Saccoccio’s big, drippy, radiant abstractions are all about surface — the skin of the paint — is to say everything and nothing about them.
The recent resurgence of interest in contemporary painting has posited the unique object — especially the handcrafted, the slapped-together, and the aggressively tactile — as yin to neo-conceptualism’s yang, a raggedy-edged refutation of the factory-finished, the reproducible, and the overly cerebral.
With the permanent invasion of art fairs into the art world economy like a plague, most galleries, no matter how cutting-edge or avant-garde, seem to believe (whether from actual or perceived necessity) that they must participate in all of the increasingly frequent art fair seasons. This endless stream of fairs forces smaller galleries that show conceptual, abstract, or experimental work into a setting devoid of context, stripping the art of its desired impact or importance. While I’m certainly not the first to point this out, nowhere was it more noticeable recently than at NADA New York.