A'Driane Nieves Dismantles the Policing of Emotionality in self-evident truths @ VSF in Los Angeles

A'Driane Nieves, a new world is still possible (so hold onto your radical imagination), 2023. Courtesy of the artist and Various Small Fires, Los Angeles / Dallas / Seoul. Photo credit: Julia Gillard.

A’Driane Nieves’ debut exhibition at VSF, self-evident truths. Combining paintings on canvas and paper with new explorations in neon and audio installation, this ambitious exhibition is also Nieves’ first on the West Coast.

Nieves’ dynamic gestural abstractions extend from a writing practice and the therapeutic potential of movement, composition, and color. A self-taught painter of over a decade, Nieves began making work after a therapist suggested painting might be a somatic path through which the artist could move to overcome the impacts of childhood abuse, particularly emotional suppression. In spite of, or perhaps because of the weightiness of this genesis, Nieves’ paintings often carry an energy of joyful, empowered liberation.

self-evident truths is a wry play on the US Constitution’s famous refrain (“we hold these truths to be self-evident, that all men are created equal...), she asks “whose truths?, self-evident to whom?”

self-evident truths is on view through April 6 @ VSF, 812 N Highland Ave. Los Angeles

Read Our Interview Of Painter Jess Valice On The Occasion Of Her Solo Exhibition @ Almine Rech In New York →

 
portrait of Jess Valice from behind painting a man's face on canvas
 

Each and every day we observe thousands of faces online and in person. And with each and every one, we reflexively look for clues to determine how they must feel. It is an empathic impulse endemic to us as social creatures. And yet, regardless of our perpetual, involuntary efforts, we can never be sure that we’ve ascertained any level of truth. It’s this mystery that lies at the heart of Jess Valice’s painted figures. The artist’s initial life path, which was headed toward a medical practice, laid the foundation for an approach to painting that leaves the viewer in a state of quizzical study, lost in the gaze of a subject who was never asking to be diagnosed. The predominant demons and desires of her subjects even seem to elude Valice, as she finds herself reworking each of their faces incessantly until she lands on something that feels honest. For her solo exhibition, Mara, opening today at Almine Rech’s Upper East Side gallery in New York, the subjects in question are at various points of overcoming the part of their egos that obstruct the path to enlightenment, known in Buddhism as Mara. According to Valice, “There is this overwhelming sense of fatigue that I think is typifying our generation, the weight of a spectrum of emotional responses that digital space provokes in us every day… It’s all so complex—this is where the science and melancholia come in—the recognition of this blankness as a widespread response. It’s too much to feel.” Fellow painter and confidante Avery Wheless joined Valice in her studio as the paintings were nearly finished to delve into the making of this new body of work and demystify some of the je ne sais quoi embodied by Valice’s disaffected figures. Read more.

Devon DeJardin "Echoes Of The Past" Opens This Week @ Albertz Benda In New York

Albertz Benda presents the second solo exhibition with the gallery by Los Angeles based artist Devon DeJardin. In this exhibition entitled Echoes of the Past, the artist has reimagined Old Master  portrait paintings, redefining a visual language for the traditional genre. DeJardin’s new paintings are the culmination of five years of his exploration into what the artist terms secular ‘guardians,’ who appear as central figures in his compositions. Comprised of geometric shapes assembled into  anthropomorphic forms, the guardians have a distinctly modernist feel in their tenuous balance between figure and abstraction: 20th century artists from diverse contexts including Henry Moore, Barbara Hepworth, and Yves Tanguy come to mind as significant inspiration.  

In Echoes of the Past, the artist delves further back across art historical eras, interpreting his portraits through the lens of Flemish Primitive and Italian Renaissance artists to the Dutch Golden Age and Spanish Romantic  masters. While classical portraiture throughout these epochs focused primarily on royalty and pinnacles of  society, DeJardin’s paintings conjure imaginary guardians that protect a wounded society.  

The cheerful themes of DeJardin’s earlier work have evolved into a darker, more limited palette, reinterpreting  choices by many of history’s greatest artists, including Goya, van Eyck, and Rembrandt. They are conceptual reflections of the era in which the artist has lived as DeJardin’s generation has never known life in a world without war—from the Gulf War and the War on Terror to the ongoing conflicts in the Ukraine and the Middle East. DeJardin metaphorically and physically mines the darkness in society to create his work, using shading and light to subtly tease figures from abstract shapes. The orb-like eyes of his figures appear lighter in tone, signifying a purity of spirit and hope for the future.

As always, his paintings are notable for their meticulous rendering. His figures are so sculptural that they almost seem to emerge from the wall. DeJardin goes straight to the canvas, working without a maquette to depict the figure and background in an organic, liberatory process. In recent years the artist has experimented with framing devices for these figures, including floral, architectural, or landscape imagery. In each of the new canvases, the background corresponds to the era from which the artist reimagined the imagery: six smaller works reflect the intimate and domestic scale of Dutch Golden Age paintings, while two larger vertical works lean on an Italian Renaissance tradition, complete with landscape and drapery surrounding the figures. The show serves as a testament to the enduring power of portraiture as a genre of storytelling, with each painting offering a glimpse into shared human experience across centuries. 

On view from March 7 to April 13 at Albertz Benda NYC. 515 W. 26th Street, New York, New York

Emily Ferguson Puts Her Spin on Andersen's Red Shoes @ Half Gallery In Los Angeles

top: Cecile Tulkens
skirt: Mugler couture


photography by Maddy Rotman
styling by Grace Dougherty
hair and makeup by Lilly Pollan


Figures swathed in ribbons as though wrapped in a breeze or a melody, Emily Ferguson borrows from music, cinema, art history and her own biography for this latest exhibition in Los Angeles. The title track of the show is a heavily chiarascuro-ed underpainting capturing an adolescent moment of exuberance, a feeling echoed in “Dancer” albeit a more specified form of activation. The painter had recently rewatched the 1948 movie Red Shoes based on the Hans Christian Andersen story and decided to put her pirouette on this ballet narrative. In real life, Emily considers herself more of a tomboy and likes that her femininity finds a release in these compositions. “Adorned” explores this tension with a young woman sporting a decidedly butch flight cap in the style of Amelia Earhart, but specked with tiny colorful bows, a direct reference to the artists late grandmother who was a seamstress. Perhaps the North Star of the exhibition is a self-portrait done in the style of Alice Neel’s famous nude: a repose of empowerment and vulnerability. 

 
 

dress: Norma Kamali
tights: Falke
shoes: St. John

How Hans Uhlmann Created New Forms for a New World @ Berlinische Galerie in Berlin

 
 

Hans Uhlmann's (1900–1975) abstract metal sculptures and drawings shaped the image of German post-war modernism. Berlinische Galerie’s current exhibition traces his creative periods from the 1930s to the 1970s. Using around 80 works - sculptures, drawings, photographs and archive material - it also examines his role as a curator, university teacher and networker in post-war West Berlin. It is the first comprehensive retrospective in more than 50 years.

Experimental molding is on view through May 13th at Berlinische Galerie, Alte Jakobstraße 124-128, 10969 Berlin.

Branding as Rebellion in THE CARDS YOU WERE DEALT @ Dittrich & Schlechtriem in Berlin

 
 

Last week, Monty Richthofen performed THE CARDS YOU WERE DEALT, a corporeal intervention in which he explored the concepts of choice, transgenerational dialogue, and transformation through tattooing. Seven participants were randomly selected. In the project, three texts were presented to the chosen participant. These texts are all accounts of 21st century phenomena. If a participant agreed to get one of the texts tattooed, they then got to choose three other texts for the following participant. The placement and composition of the text were decided collaboratively with the artist. The tattoos form a coherent text piece, a physical exquisite corpse, that is painted on a light box, echoing our individual but interconnected experience. THE CARDS YOU WERE DEALT was first performed in September 2023 and most recently included in the 2023 Gallery Weekend Berlin.

THE CARDS YOU WERE DEALT was performed at Dittrich & Schlechtriem, Linienstraße 23, 10178 Berlin.

Pippy Houldsworth Gallery presents sculpture by late American artist Richard Stankiewicz


Presenting in the Pippy Houldsworth Gallery, a sculpture by late American artist Richard Stankiewicz (1922-2018) in its micro project space, The Box. Constructed in Stankiewicz’s characteristic rusted metal, Man of Parts (c. 1950-59) can be seen as a figural exploration of modernity, in which both materials and people are sacrificed in favour of technological and social ‘progress’.

 

Unable to afford the fees, Richard Stankiewicz forwent a scholarship to the Cranbrook Academy of Art, Michigan, instead enlisting in the Navy when the United States entered World War II in 1941. Stationed in the Aleutian Islands and Hawaii over the course of the war, Stankiewicz spent his free hours fashioning animal bones and other found materials into his first sculptures. Like Jacob Epstein, who famously altered his Rock Drill (c. 1913–1916) in the shadow of the First World War’s mechanised brutality, Stankiewicz’s experiences during the Second World War appear to have marked him with an ambivalent attitude toward technological innovation and its relationship with human life. The title of the piece presented in The Box, Man of Parts, plays on the bricolage construction of the sculpture and the idiom ‘a man of many parts’ (a multitalented man). A figure formed from discarded scraps of metal, the sculpture hints at the fragmentation of the modern psyche and, perhaps, the trauma of war, which so often returned men home in pieces, literal and psychological.

 

After being discharged in 1947, the artist travelled to New York City to study at Hans Hofmann's School of Fine Art, only a few years before Judith Godwin, whose work is currently showing in the gallery’s main space. Stankiewicz later made his way to Europe, where he studied sculpture under Ossip Zadkine and painting at Fernand Léger’s Paris atelier. In 1952, after returning to New York, Stankiewicz co-founded the Hansa Gallery with Allan Krapow and other fellow students of Hans Hofmann, including Jan Müller, Jean Follet, and Wolf Kahn. New York’s second artist-run cooperative, the Hansa Gallery regularly presented Stankiewicz’s work until its closure in 1959, and its archives are now in the collection of the Museum of Modern Art, New York. It was in this period that he began working with welded scrap metal, giving new life to the detritus that littered New York’s streets. In these works, Stankiewicz appears to be working through ways that society and the individual might rebuild themselves from the wreckage of industrialisation and successive World Wars.

 

Throughout the decade during which Man of Parts was made, Stankiewicz’s practice was increasingly celebrated, and he participated in numerous solo and group exhibitions, including Young America 1957at the Whitney Museum of American Art, Irons in the Fire at the Contemporary Arts Museum in Houston (1957), a solo exhibition at the iconic Stable Gallery (1959), and in the 29th Venice Biennale (1958).

Garish Queerness as a Mode of Restoration in Pierre le Riche's New Show @ Ronewa Art Projects in Berlin

In Pierre le Riche’s current exhibition, In Four Places at Once, the artist creates vivid figurative wall tapestries that center his queer identity while reflecting on the complexities of belonging in a contemporary world. Identity is woven into and essential to le Riche’s practice; much of his work has been aimed at challenging norms and associations around gender and sexuality and confronting themes of colonialism and white privilege. The group of artworks on show emerged from a period of internal struggle as le Riche acclimatized to a new environment following his move from Cape Town to Aachen, Germany. In this light, le Riche’s choice of tufted yarn as a material, reminiscent of cozy household textiles, feels fitting to conjure a homesick state of yearning and introspection. Le Riche’s use of craft – elsewhere in his practice he also employs embroidery, sewing, and crochet – tosses out outdated notions of gendered art forms. Through his homoerotic content, le Riche pushes back against the conservativeness of a middle-class, suburban upbringing in Post-Apartheid South Africa. His cartoonish nude figures, some sporting exaggerated genitalia, can be read as playfully provocative and unapologetically gay, testing the boundaries of puritanical sensibilities. Simultaneously, his characters are contorted and dislocated in space, imbued with vulnerability, uncertainty, and longing.

In Four Places at Once is on view through March 28th at Ronewa Art Projects, Potsdamer Str. 91, 10785 Berlin.

Michaela Stark Presents "The Panty Show" in Collaboration with Charlotte Rutherford @ Fondazione Sozzani In Milan

 
 

Michaela Stark’s The Panty Show, hosted by Carla and Sara Sozzani, is a hyper feminine and playful, three-part artistic expression that comprises an exhibition, performance, and presentation of her panty collection.

Michaela’s process and practice is confessional and comes from her perspective that she shares with her generation. The Panty Show combines several aspects of her body of work. The show narrates the path she has taken from her early years experimenting with draping on her own body alone in her Paris apartment to how she gained liberation through fashion.

The conceptualization of Panty began as a heavily emotional journey. When her personal work and experimentation with reshaping her body began to get her noticed, this often led to appropriation of her body and her intimacy when collaborating with other artists.  

Artists Hans Baumer and John Kacere are the backdrop for the exhibition and performance at The Panty Show. Two male artists who overtly took the female form and its autonomy projecting their own ideas unto it. Stark reverses these outdated attitudes by reclaiming her voice as a female artist and by being the protagonist in her work. 

The set for the performance recreates her atelier, a dusty pink chaotic tableau vivant of ribbons and dried flowers. The audience and viewers are invited to join and share her experience. In the set, Michaela dresses her model, Yasmin El Yassini, who acts as her human doll. She dresses Yasmin in her body morphing corsetry, transforming her body completely, and then stages her almost lifeless body for photographs. 

For her second collaboration with Charlotte Rutherford, Stark remarks on the photographer’s ability to see the fantasy in everyone who steps in front of her camera and capture their unique energy as well as to foster an environment where everyone can act with agency over their body’s representation.

The final act of The Panty show showcases a series of lingerie-esque garments. Stark created ten sculptured dolls made out of tulle, using couture corsetry techniques and crinoline to give structure.

Her notebooks documenting her process are also on display, giving insight to her practice.

The Panty Show is on view through February 25 @ Fondazione Sozzani Vis Tazzoli 3, Milan

 
 

Intimacy, Intensity and Sensuality Are Magnified in Zoë Ghertner's Held in the Palm @ Zodiac Pictures in Los Angeles

Installation view courtesy of the artist and Zodiac Pictures.

Zoë Ghertner’s Held in the Palm dutifully maintains a level of intensity with all of her subjects, exploring and releasing their associative experiential qualities within the still image. With such a meticulous focus, rippling patterns or grainy textures become revealed in places where these qualities might otherwise go overlooked. Using color, texture, and light, Ghertner emphasizes the formal properties of her medium and exploits its immediacy. In some photographs, the artist toys with her compositions to soften and distort the final image—imparting a hazy, gooey, or warming sensation upon the viewer of the finished work. In these final photographs, time is ultimately suspended as each subject becomes an abstraction. Read more.

Held in the Palm is on view through March 23 @ Zodiac Pictures, 145 Bay Street #9 Santa Monica, CA

 
 

[REVIEW] Nurturing Nature in Lost Wild: Art on the Edge of the Anthropocene @ Whitney Modern in Los Gatos

text by Chimera Mohammadi

How do we nurture the force that created us? This seemingly paradoxical question defines Lost Wild, the group show on view at the Whitney Modern in Los Gatos. The show grapples with various such paradoxes tethered to our relationship with nature: Keith Petersen’s breathtaking photography of chemical reactions claims organic aesthetics through inorganic means, and Karen Olsen-Dunn’s otherwise conventional landscapes glitch and freeze off the canvas and out of the realm of recognition. Dean Bensen and Demetra Theofanous’s glass leaves and bird nests solidify typically flexible structures into embodied fragility, reminiscent of the environmental precariousness that defines our current global epoch. After luxuriating in these contradictory states, the show sets about to address that core question of nurturing, calling in motifs of youth, restoration, and lushness. Melissa Mohammadi’s sprawling botanical studies and tunnel books house disparate plants, bound together by unlikely familial forces and working together toward healing. Tamera Avery’s tenderly rendered masked subjects are at once children and revolutionaries, often modeled after her own son. Marie Cameron’s paintings cope with climate change through a fantastical fairy tale lens, while Sheila Metcalf Tobin’s burst out of the confines of the canvas in radiant, sun-dappled celebrations of natural nostalgia.

Lost Wild is on view through March 30th at Whitney Modern, 2nd Floor of 24 N Santa Cruz Ave 2nd floor, Los Gatos, CA 95030.

The Incarnation of Desire is Brought to You by A Tender Limb @ Reisig and Taylor Contemporary in Los Angeles

 

Image courtesy of Reisig and Taylor Contemporary.

 

Reisig and Taylor Contemporary is presenting A Tender Limb, a group exhibition of works by Los Angeles-based artists Ibuki Kuramochi, Marley White, and Allison Arkush. The exhibition includes prints and a sculptural video installation by Kuramochi; mixed-technique and metal sculptures by White; and, mixed-media and ceramic pieces by Arkush.

Recontextualizing ‘everyday' interactions with items, furnitures, images, screens, trinkets, skins, figments, tangles, tools, morsels and other abeyant entities that congeal or contract as soon as someone looks (away), the exhibition asks how bodies make-room for objects through desire and affection—through taste. But it also asks how conditioned desires, affections, and tastes for objects make-room for (specific types of) bodies.

A Tender Limb is on view through February 24 @ Reisig and Taylor Contemporary, 2680 South La Cienega Blvd, Los Angeles, CA 90034

 
 

Time is Stretched Through Muted Tones in Happy Phantom @ Lowell Ryan Projects in Los Angeles

 

Erin Trefry, Causeway across the sea, 2024. Images by Charles White at JWPictures.com, courtesy of the artist and Lowell Ryan Projects.

 

Lowell Ryan Projects presents Happy Phantom, an exhibition by Los Angeles-based artist Erin Trefry. Comprised of a series of eleven figurative paintings in muted tones, Trefry continues her exploration of sentiment, time, and figuration particularly in relation to familial narratives and relationships.

In this exhibition, Trefry presents her great-grandmother’s paintings, which were originally created in the late 19th century, and depict figurative scenes of romantic settings, exotic locales, and fantastical narratives. These works were passed down through the generations eventually landing in Trefry’s possession. In Happy Phantom Trefry subverts the imagery of her late relative, the paintings are presented stretched in reverse so that the viewer is only able to see the backside of the works where the paint has bled through the fabric. Behind the paintings, a layer of muslin conceals the surfaces of the original paintings.

Happy Phantom is on view through March 2 @ Lowell Ryan Projects, 4619 W Washington Blvd., Los Angeles, CA 90016

Feel the Out-of-Body in Disembodied @ Nicodim in Los Angeles

Installation view of DISEMBODIED. Image courtesy of Nicodim.

Isabelle Albuquerque / Liang Fu / Shana Hoehn / Rae Klein / Agnieszka Nienartowicz / James Owens / Daniel Pitín / Qian Qian / Nicola Samorì

Curated by Ben Lee Ritchie Handler

DISEMBODIED builds and continues conversations around the violence, ecstasy, and epiphany within out-out-body experiences as-seen from the perspective of those on the ground—the leaps of faith we take to believe those who say their souls depart while their bodies remain. The works in the exhibition cover a wide swath of allegorical and tangible disembodied states, including the spiritual, the telegraphic, the psychedelic, the dissociative-induced, artificial intelligences, and alien encounters.

DISEMBODIED is on view through February 17 @ Nicodim, 1700 S Santa Fe Avenue, #160, Los Angeles, CA 90021

[REVIEW] Queer Routes to Restoration in The Embodied Press @ Kala Art Gallery in Berkeley

text by Chimera Mohammadi

“I lingered in front of the bar and felt eyes search my face.” As the words flit across an uncanny array of printed eyes in Malic Amalya’s short film “Flyhole,” Amalya confines in language the current that unites the work in The Embodied Press: Queer Abstraction and the Artist’s book, a touring exhibition curated by Anthea Black which has just finished its Berkeley stop. The show consists of a glorious collection of Queer aesthetics that question whether they want to be seen and ultimately insist upon it, considering the tenuous relationship between Queerness and observation without compromising the Queer right to be seen. The space where Queerness and spectacle overlap has often held violence: The Embodied Press is a reclamation of that space, thrusting the historic traumas of the Queer community into the spotlight while soothing the resulting discomfort with self-owned Queer spectacle. Lyman Piersma’s delicate, heartrending recordings of life during the AIDS epidemic and Lukaza Branfman-Verissimo’s brutally raw love notes and protest poems imbue the space with a revolution-inspiring pathos. Kate Laster’s kaleidoscopic collages suspend themselves in space like bursts of visual jazz, and radiant books of wordless color gradients by Nicholas Shick embody the transcendent euphoria of gender transition. Married couple Miller and Shellabarger’s hazy fields of pastel erotica pepper the space like escape hatches, doors into a welcoming party, while their massive paper dolls cordon off corners for “Flyhole” and Nadine Baritueau’s “Au Revoir” to quietly question the paranoia of being seen and the appeal of disappearance. 

The Embodied Press is on view through February 9th, 2024, at Kala Art Gallery at 2990 San Pablo Ave, Berkeley, CA 94702.

Non-Specific Objects Carves Niches for Difference from Universality @ Capitain Petzel in Berlin

The title of Non-Specific Objects acts as a counterpoint to the ideas expressed in Donald Judd’s canonical 1964 essay Specific Objects. Seeing as Judd characterized specific objects as separate from either sculpture or painting, they were precisely themselves, emphasizing the very materiality of a specific object that lacked expressive or symbolic content, especially to embodied subjectivity. This universal space, which aimed to be all-encompassing, did not make room for gender, racial, and sexual difference. The artists in this exhibition work against the hegemonic universal, creating space for difference in their works by means of abstraction, referencing bodies both literally and metaphorically.

The selection of works collectively embodies the contemporary lived experience of those who occupy spaces outside the normative. While they often do not overtly mirror the human form, the works represent humanity through a lens of abstraction and resistance, inviting viewers to confront themselves and experience bodily otherness. From alienation and embarrassment to intimacy and desire, the artists offer both the possibility of self-reflection and shared moments of humor.

In focus is the abstracted body – be it the intimate nature, materiality, and particularities of the individual human body, the collective body that is built on shared historic experience, the extended and amplified body in an age of relentless augmentation, or the body that eschews realistic painterly modes of representation, opting for formally abstract or heavily stylized, sometimes nostalgic renditions of humanity. The diverse set of artistic practices does not adhere to strict principles of representation, but continually references the human, sometimes clearly and often obliquely. It highlights objects that refuse human form but relate to the human by embracing abstraction.

Non-Specific Objects is on view through February 24th at Capitain Petzel, Karl-Marx-Allee 45, 10178 Berlin.

Wolfgang Voigt Births Rich Yet Minimalist Psychedelia with the Loop Principle @ Galerie Nagel Draxler in Berlin

In both his musical and pictorial work, Wolfgang Voigt predominantly adheres to strict conceptual principles, which he refines and diversifies consistently. Alongside his mostly sample-based, rather free-abstract to gestural musical and figurative language, it is primarily the “loop principle” that has always fascinated Voigt. The static or varied repetition of minimalistic structures creates certain patterns, grooves, and shapes. This way of thinking is shaped not least by the structure of computer-based music programs, permeating Voigt’s work in various ways.

Whether navigating the tension between 4/4th bass drum-based groove patterns and condensed visual sequences/loops, or reopening the loops and engaging in free-abstract deconstruction (re-enchantment/de-interpretation) – for Wolfgang Voigt, sampling and “the loop” represents a way of perceiving the world. Even when adhering to certain rules and concepts in selecting and processing his source material, he intentionally allows deviations to emerge, often locating what he is “looking for” not in the intended location but in its vicinity. In the virtuoso interplay between “man and machine” he is consistently focused on the simultaneity of strict conceptual minimalism and the hypnotic-psychedelic effect of beginninglessness and endlessness. This encompassed the conceptual-rational observation of surfaces through digital pop art lenses and the creation of intoxicating, shimmering surfaces. And it involves the negation of predictability.

Mit Maschinen Sprechen is on view through April 13th at Galerie Nagel Draxler, Weydingerstraße 2/4, 10178 Berlin.

Read Our Interview of Folk Artist Justin Williams On The Occasion of His Solo Exhibition @ Roberts Projects LA →

Oil painting by Justin Williams of his wife, Jade, reclining on a sofa behind a fortune teller.

Justin Williams
Major Arcana, death watching over Jade (2024)
Acrylic, oil, raw pigment and gold pigment on canvas
77.25 x 84.75 in (196.2 x 215.3 cm)

In Justin Williams’s newest exhibition, Synonym, at Roberts Projects, waves of stories collide and crash across timelines, pouring onto the canvas in lush and decadent palettes. Williams creates wormholes between his ancestral memories and the present day. His work carves spaces, ranging from cozy to claustrophobic, in which dead and living strangers coexist in moments of imagined connection. Williams’ world is seen through a kaleidoscope of childhood trinkets, native flora, and mythologized fauna, from goats to dogs to horses. The artist collects moments and mementos alike to collage in these quiet yet fantastical dreamscapes, mining through Westernized memories of suburban Australia and hitting rich veins of ancestral Egyptian aesthetics. Williams embraces the awkwardness of outsider life, and his work embodies the comforting realization that even outsiders create their own exiled community. To mark the occasion of Synonym, he discusses stories and people, which echo throughout his life and strangers whose moments of grief have shaped his work. Read the full interview here.

Judith Godwins’ First European Solo Exhibition Expressions of Life @ Pippy Houldsworth Gallery

Pippy Houldsworth Gallery presents American painter Judith Godwin's first European solo exhibition, Expressions of Life. The exhibition comprises an overview of the artist's work from the early 1950s - the period in which she was associated with the Abstract Expressionist movement - to the end of the century. The opening exhibition truly illustrates the artist’s lasting influence over the landscape of American art, despite the challenges she faced as a result of both her sex and sexuality.

Long underappreciated, Godwin’s contribution to the New York avant-garde has undergone recent revision following her inclusion in landmark exhibitions at the Denver Art Museum, Whitechapel Gallery and Fondation Vincent van Gogh Arles, that offered a reappraisal of women abstractionists of the 20thcentury. Her thesis was – and remained – one of liberation from the conventions of a movement anchored in a language of masculinity and heteronormativity. Starkly aware of the limitations imposed on her by the milieu in which she practiced, Godwin sought to redefine such ‘masculine’ values by way of gestural abstractions that brought a loose geometry into dialogue with nature, dance and Zen philosophy. Her innovative reorientation of the language of modernism remains a radical statement today.

 

Godwin’s interactions with the New York art world began early in her career. As a student at the Mary Baldwin College in her native Virginia, she sought the acquaintance of the modern dancer and choreographer Martha Graham. Godwin’s invitation to Graham to perform at her college laid the foundations for a lifelong friendship between the two, and Graham’s trailblazing path in a world dominated by men became a touchstone for Godwin. The diaphanous washes of colour, colliding forms and sensuous arcs which characterise Godwin’s works from the early 1950s are indebted to Graham, whose performances she frequented on arrival in New York, often watching from the wings.

 

By 1953 Godwin had settled in New York and was continuing her artistic education under Hans Hofmann, whose influence can be seen in her dynamic approach to composition and colour. Provincetown Summer, 1953, exemplifies Godwin’s facility for translating depth and volume into two dimensions. Introduced to Zen Buddhism by Abstract Expressionist painter Kenzo Okada, such philosophies began to play a larger role in her painting, encapsulated by calligraphic brushwork, redolent too of Franz Kline, another close friend of Godwin’s. As the 1950s continued, the artist’s work took on larger proportions and a darker palette, all the while maintaining an organicism and proclivity for light and space in her evocation of the spiritual in nature. Her vigorous abstractions caught the attention of influential art dealer Betty Parsons, who included Godwin as the youngest artist in the inaugural exhibition at Section Eleven Gallery in 1958 alongside artists including Agnes Martin, and went on to present solo exhibitions of her work in 1959 and 1960.

 

During the 1960s, as Pop Art and Minimalism began their ascent, Godwin distanced herself from the New York art world, retreating instead to Connecticut where she worked restoring 18th-century homes and trained in masonry, carpentry and landscape design. Her return to New York in 1974 saw a change in her paintings, which demonstrated a robust communion with the outdoors and a physicality that invoked the power of nature. With its assertive cardamom red palette and esoteric iconography, Elegy to a Slain Deer, 1975, captures Godwin’s investigation of the relationship between the physical and metaphysical. As in her paintings of the 1950s, her keen appreciation of the corporeal form is palpable in the material presence of her body on the canvas, in body-length arcs of the brush that express her movements with agency. The liberation of the body and its inherent sensuality continued to play a central role in Godwin’s works of the 1980s and 1990s, as articulated by the flesh-inflected palette of The Nest, 1994. Godwin died in 2021 at the age of 91, just as her work began to reach new audiences worldwide. Her lasting legacy is in the transformative nature of her practice, which successfully recalibrated the masculine language of gestural abstraction, shifting representations of womanhood and sexual identity on the canvas.

Expressions of Life is on view through March 9 @ Pippy Houldsworth Gallery 6 Heddon St, London W1B 4BT, UK