Veröffentlicht am 20.03.2017
James Kalm slips through the slush, and dodges snow banks, to make it into Chelsea to check out the opening of Perle Fine: Prescience Series (1950s) at
Berry Campbell Gallery. Perle was an art world Zelig, coming to New York in the late 1920s she studied with Hans Hofmann, was invited to join the Artists’ Club by Bill deKooning, and showed at Betty Parsons early on with the likes of Agnes Martin, Jackson Pollock, Mark Rothko and Clyfford Still. This body of work attracted your correspondent because he senses its relation to the color field painting, which would manifest about a decade later, and also perhaps more “presciently” to a wedge of Patter&Decorative which coincided with the beginnings of Feminism in the early 1970s.
The following Sunday, viewers are invited for a visit to two Lower East Side shows beginning with Jason Fox “Square Cave” at Canada. This group of about twenty-four same sized canvases is installed chronologically, and a walk down the line is akin to flipping through the pages of the artist’s sketchbook. His themes vary from memorials to dead pets to versions of TV characters and icons of pop culture. We’ll also get glimpses of his drawings.
Then your reporter ends up at Peter Acheson: New Paintings at Brennan & Griffin. In the years since he’s departed the Williamsburg painters enclave, Acheson has dug deep into his personal vision of painting that is less attentive to the market, and fashionable art trends, and more resonant of the primitive and primordial. This group of intimate sized works shows a consistency and maturity that is garnering the artist new found relevance not only to critics, but new generations of young painters. This program was recorded on March 16, and 19, 2017.
Berry Campbell Gallery. Perle was an art world Zelig, coming to New York in the late 1920s she studied with Hans Hofmann, was invited to join the Artists’ Club by Bill deKooning, and showed at Betty Parsons early on with the likes of Agnes Martin, Jackson Pollock, Mark Rothko and Clyfford Still. This body of work attracted your correspondent because he senses its relation to the color field painting, which would manifest about a decade later, and also perhaps more “presciently” to a wedge of Patter&Decorative which coincided with the beginnings of Feminism in the early 1970s.
The following Sunday, viewers are invited for a visit to two Lower East Side shows beginning with Jason Fox “Square Cave” at Canada. This group of about twenty-four same sized canvases is installed chronologically, and a walk down the line is akin to flipping through the pages of the artist’s sketchbook. His themes vary from memorials to dead pets to versions of TV characters and icons of pop culture. We’ll also get glimpses of his drawings.
Then your reporter ends up at Peter Acheson: New Paintings at Brennan & Griffin. In the years since he’s departed the Williamsburg painters enclave, Acheson has dug deep into his personal vision of painting that is less attentive to the market, and fashionable art trends, and more resonant of the primitive and primordial. This group of intimate sized works shows a consistency and maturity that is garnering the artist new found relevance not only to critics, but new generations of young painters. This program was recorded on March 16, and 19, 2017.
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