For DeFeo, Surrealism was not a technique, but a state of seeing and experiencing everyday life.
Keltie Ferris discusses her exhibition M\A\R\C\H at Mitchell-Innes & Nash, for which she covered herself in oil and pigment and lay on top of large sheets of paper.
Jessica Stockholder lives in a contingent domain, which means it is very much like the one where most of us live.
Gentrification and related issues of rising rents, the paucity of affordable housing, and the astronomical gap between the wealthy and the poor have been appearing in public discourse at an increasing rate, in exhibitions, in public art projects, in organized protests.
I’d call Sarah Braman’s show at Mitchell-Innes & Nash a breakthrough were it not for her slow and steady ascent.
From the 1960s until his death in 1986, German artist Joseph Beuys produced some 557 multiples — small-scale portable and affordable pieces that captured an element of his practice.
The following email exchange with the photographer Justine Kurland focuses on her exhibition, Sincere Auto Care, at Mitchell-Innes & Nash, which is accompanied by a self-published book with the same title.
A show like the one currently up at Mitchell-Innes & Nash, which homes in on Jay DeFeo’s post-“Rose” output until her death in 1989, is still direly important.
A couple of years ago, I heard Chris Martin give a talk to Columbia MFA students. Rather than the standard artist’s slide lecture, Martin brought along his conga drums and a small band, a girl wearing a metallic dress and carrying a boom box, and a couple of people who tore sheets from a book of Italian Renaissance drawings and handed them to audience members.
For the first time in America, we have the opportunity to see the stark abstract paintings and drawings of the Croatian artist Julije Knifer (1924–2004), which are on display at Mitchell-Innes and Nash through today.
Leon Kossoff’s paintings can be counted among the vanishing breed of artworks whose comprehension is entirely dependent upon being in its physical presence.
At some point while I was walking around the spacious exhibition space of Mitchell-Innes & Nash, it struck me that Keltie Ferris’s paintings no longer seemed to be making obvious allusions to Joan Mitchell, Frank Stella and Piet Mondrian. This may have been due to the order in which I looked at the paintings, but as I went from one to the next I could sense her increasing confidence.