Summer group shows Part II: Chelsea Gallery Crawl - Art Collector

Nicholas Krushenick, Navy Lite, 1967. Acrylic on paper collage, 40 x 30”. Couresty: the artists and Garth Greenan Gallery, NY

By Jess Holburn

As the group show season continues around Chelsea and Manhattan, emerging and established artists are woven together, looking retrospectively in relation to the present while attracting clients both old and new. Paper at Garth Greenan Gallery features works on paper in a variety of media by nine artists, including new works by Chicago imagists Gladys Nilsson and abstract expressionist Howardena Pindell and the emerging painter Matthew Palladino, as well as never before exhibited works by the venerable abstractionists Paul Feeley and Norbert Prangenberg, plus a selection of erotic drawings by Mark Greenwold, a newcomer to the gallery. Nicholas Krushenick and Paul Feeley are both subjects of museum retrospectives at present. Feeley’s show travels to Columbus in October, to be the inaugural exhibition in their new building. It will also coincide the permanent installation of Karnak, a sculpture garden of works by Feeley first made in 1965 and installed at his Guggenheim retrospective in 1968. The Albright-Knox Art Gallery purchased two paintings by Paul Feeley last year, and the Museum of Fine Arts Boston purchased one work by Feeley. The most recent sale of Nicholas Krushenick went to Rollins College. Gladys Nilsson is also featured in What Nerve! at Matthew Marks Gallery. She received a NY Times critic’s pick for her show last October, of which had sold out within the first week of opening. Art collector and dealer Bryan Davidson Blue says: “I have examples of each of these artists in my own personal collection. History is quickly catching up and their values are all increasing.”


Caroline Wells Chandler, THE BOI WONDER, 2015. Hand crocheted assorted wool, 57 x 68”. Courtesy: the artist & Driscoll Babcock Gallery, NY

Driscoll Babcock Galleries opened a group show as well, presenting Secret Identities: Superheroes and Selfhood, a group exhibition subverting the notion of heroism in relation to personal identity. The show includes paintings, digital prints and needlework by Katherine Bradford, Caroline Wells Chandler, Chitra Ganesh, Mark Newport, Nathaniel Mary Quinn, Peter Williams and Jason Bard Yarmosky. Wells Chandler’s vibrant work is immediately recognisable when you walk in, there was a similar hand crocheted piece displayed by Roberto Paradise Gallery at the 2015 NADA New York Art Fair unto which Hyperallergic arts writer Jillian Steinhauer wrote: “Is that the happiest vagina ever or a penis so exuberant it’s giving off rainbow rays? We may never know – but who cares?”




Sarah Hewitt, Way of the Shaman, 2015. Mixed media, dimensions vary. Courtesy: the artist and Andrea Meislin Gallery, NY

And just across the street, Andrea Meislin Gallery opened on the same night with an exhibition curated by Daniel Bauer titled PARTY BEUYS: what comes after farce. The exhibition includes works by Ilit Azoulay, Ronnie Bass, Assaf Evron, East River School Painters, Lily Hern-Fondation, Sarah Hewitt, Gareth James and Jeff Whetstone. Artist Ilit Azoulay has just been selected for a new photography exhibition at MoMA titled Ocean of Images. His piece in the show, Howling for Beuys, is a large-scale architectural, aluminium photomontage. Sculptural textile works, in this case by emerging artist Sarah Hewitt, serve as a playful homage to Beuys’ shamanistic approach to art making.

Paper shows at Garth Greenan Gallery, 529 West 20 Street, New York, from 8 July to 14 August 2015

Secret Identities: Superheroes and Selfhood shows at Driscoll Babcock from 8 July to 14 August 2015

PARTY BEUYS: what comes after farce shows at Andrea Meislin Gallery, 534 West 24 Street, New York from 8 July to 14 August, 2015. There will also be a performance by Anthony Romero and Josh Rios on Thursday 30 July.


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