For DeFeo, Surrealism was not a technique, but a state of seeing and experiencing everyday life.
Mitchell-Innes & Nash
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“It Feels Sacrificial”: An Artist Repeatedly Imprints Her Body on Paper
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.
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The Party We Are All Invited To
Jessica Stockholder lives in a contingent domain, which means it is very much like the one where most of us live.
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An Archive on Homelessness and the Housing Crisis Brought to Life
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.
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Campers, Sunsets, and Junkyards: Sarah Braman’s Containers of Light
I’d call Sarah Braman’s show at Mitchell-Innes & Nash a breakthrough were it not for her slow and steady ascent.
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Over 500 Joseph Beuys Multiples Go on Rare View in NYC
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.
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John Yau and Justine Kurland Discuss the Relationship of Photography, Poetry, and Narrative
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.
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Searching for Jay DeFeo (Again)
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.
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Beer with a Painter: Chris Martin
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.
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Julije Knifer’s Unstable and Expansive Geometry
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.
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For the Love of Paint: Leon Kossoff Digs Deep
Leon Kossoff’s paintings can be counted among the vanishing breed of artworks whose comprehension is entirely dependent upon being in its physical presence.
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Risky Business: Keltie Ferris’ Collisions of Improvisation and Decay
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.
