Two exhibitions by Patricia Satterlee have bookended the plague year.
MoMA’s recognition of modernism’s multiverse, alongside artist-led drives for greater transparency on the part of museums and their boards, brought a twinge of optimism to the close of the year.
With ATOMIC, her new body of work, Patricia Satterlee pitches us into abstract apparitions of heaven and hell before pulling us back to earth.
A year of truth-telling and electric painting.
Satterlee’s paintings, having eluded the categorical distributions of abstract art, are ultimately couched in their own terms, a syntax that can feel a step outside the precincts of language.
The exhibitions that rippled through our cultural fabric over the past year, at least those occurring in and around New York, have registered the predictable number of highs and lows, though 2014 did manage to plumb one nadir unlikely to be matched for a good long time.
A vision of disruptive, gritty perfection can be glimpsed at Valentine in Ridgewood, where the paintings of Patricia Satterlee and the sculptures of David Henderson and Jude Tallichet cohabit the space with bristling singularity.