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December 05, 2015, 2:15pm

Art Miami 2015

I made it over to Wynwood to see Art Miami...Hope you like these highlights! If you click on the image it should open a full size view, which I encourage. - Andrew Katz, Associate Publisher

Listed under: Art Market, Art World

December 05, 2015, 11:02am

Untitled, Art Miami Beach 2015

WoGreetings from Untitled Art Fair!!! Click on the images for full size...Andrew Katz, Associate Publisher

Listed under: Art Market, Art World

December 05, 2015, 10:24am

NADA Miami Beach 2015

More photos from my trip to Miami! This time from NADA Miami Beach 2015 at the Fountainebleau Hotel. It's a new venue for NADA, and we think a good choice. As always, be sure to click on the images for full view! Andrew Katz, Associate Publisher

Listed under: Art Market, Art World

December 02, 2015, 5:45pm

Scope Miami Beach 2015

Always good to be back in Miami! I'll be posting some of my highlights for each fair over the next few days. If you couldn't make it, hopefully this will help you get your fill..Enjoy! Andrew Katz, Associate Publisher

Be sure to click on the images for full view!

Listed under: Art Market, Art World

November 24, 2015, 8:08am

Renee McGinnis: The Lazarus Fleet

Their faces are, for the most part, turned up in the universal angle of defiance—haughty! powerful! the coquettish imperial bearing of models, trusting—fervently praying—that what they have heard, what is whispered and shouted and injected into their very marrow is true, that their beauty is their birthright, that the aesthetic will hold, that pulchritude is a redoubt, impossibly thin but improbably strong—their noses aimed slightly forward to the sky, their strong, powerful lines—slavish lines, lines built with all of the force, knowledge, technology, hubris humanity can offer—their vanguard and leading edge, a knifing into the eventide they are doomed to forever ply, no, should!, should forever ply!, but are not, are resting ghoulishly atop the waves, and who could deny The Girls their defiant turn, their dangerous angle, being dead as they are? It is their final wish, their visual hagiography, the last cruise of the Lazarus Fleet, the dead risen from the depths, their opulence decayed and wearing gilt upon their prows, singing a mournful banshee's song, the churn of the screw and the pounding of the sea accented by the rhythmic clang of a skeletal pelvis hanging from the rode…- B. David Zarley, Chicago Contributor


Renee McGinnis | MS Sea Horse, 2013, oil on mdf panel, 48 inch diameter. 
Photo courtesy of Renee McGinnis

Listed under: Review

November 23, 2015, 11:10am

2015 Miami Beach Guide

We put together a comprehensive list of the fairs during Art Basel, Miami Beach. See you there?


Photo by Andrew Katz, New American Paintings

Art Basel
December 3 - 6
Miami Convention Center
http://www.artbaselmiamibeach.com
ADMISSION
Day: $47
Multi-Day: $100
Student: $30
HOURS
Thursday, December 3rd, 3pm - 8pm
Friday, December 4th, 12pm - 8pm
Saturday, December 5th, 12pm - 8pm
Sunday, December 6th, 12am - 6pm

Listed under: Art Market, Art World

November 23, 2015, 9:18am

Museum Admission: Brenna Youngblood at the Seattle Art Museum

When I walked into Brenna Youngblood’s (NAP #103) abstracted realities, at the Seattle Art Museum, I thought this would be a show about its painted subjects.  The eight works’ contents—an oversized “x”, a confetti of dollar-bill signs, a dripping map, a Chuck Taylor sole atop a pyramid—held so much depth on their own.  Knowing her also to be an artist whose practice extends to mediums rooted in physical objects, including sculpture, collage, assemblage, and photography, objects at first seemed to be the heart of the matters here. — Erin Langner, Seattle Contributor


Chuck Taylor,
2015, Brenna Youngblood, American, b. 1979, color photograph
and acrylic on canvas, 72 x 60 in. Courtesy of the artist and Honor Fraser Gallery.

Listed under: Museum Admission, NAP News, Review

October 29, 2015, 10:19pm

Steve Locke’s Watercolors

Steve Locke sold fifty 5 x 7-inch watercolor portraits through social media in June 2015, and an additional hundred similar paintings in August. He asked those who wished to participate to send him fifty dollars and any specific requests. For a few weeks, snapshots of the watercolors radiated from the Facebook and Instagram accounts of Locke’s connections. The images, taken by their recipients, enthusiastically reported their arrival by the US Postal Service. – Shana Dumont Garr, Boston Contributor


Watercolor on 140 lb. 100% rag shinzen paper, 2015, 5 x 7 inches, Collection of Carole D’Inverno.

Listed under: Noteworthy

October 26, 2015, 9:00am

Nina Rizzo: Environmental Impact

It takes a moment for the eyes to adjust—atavistic mimesis! faux-fear, sympathetic nervous system goosing, the ultimate success of the palette of the night!—and for the wild bereavement of the eyes being divorced from the mind to subside, basic outlines, the context, the color, the safety, to materialize like haints in the gloaming, signposts and sirens demarcating and drawing through the darkness, through midnight and navy blues, still-warm oxblood, unfathomable purples, shadows thick enough to smother, to obfuscate, to kill, great ragged heaping breaths—ribcage expanding gulps—in the brief flashes —royal! the sky? a flower?—which open like false editorial spread irises to provide for the killing of Kurtz and the comforting recognition of shapes, shapes engorged, swollen sweet and suspended, striated like carapaces or the long, primed, puckered muscles of the thigh, like ladders from Pluto, the fat wet tongues of leaves lapping against and pulling the eyes, as if by slow jungle steamer, into and through Nina Rizzo's Conradian jungle. –  B. David Zarley, Chicago Contributor


Nina Rizzo | Long Night in the Garden, 2015, oil on canvas, 60 x 120 inches. Photo courtesy of Linda Warren Projects

Listed under: Review

October 20, 2015, 10:08am

Paintings For The Future: Shannon Finley at Jessica Silverman Gallery

If you get up close to Shannon Finley’s paintings, on view at Jessica Silverman Gallery through October 29, you’ll catch a glimpse of the warp and weft of the canvas beneath all that color. It’s there, visible along the very edges of the work where the stretcher bars made tight contact with Finley’s pallette knife and squeezed out all the paint. But from the distance of your monitor you may not even realize that the slick compositions are paintings at all -- they originate on Finley’s computer, all polygons and symmetry and speaking a kind of digital language. Take one step closer and they’re unmistakably beautiful paintings, as engrossing and aesthetically wrought as large beautiful paintings tend to be. One step closer still and they performatively reveal their material processes -- scrapes from the palette knife trace the artist’s path, and dried globules of paint point to a temporal kind of accumulation. And the support, that canvas I mentioned earlier, begins to allude to that postmodernist bent of turning painting inside out, of making paintings that reveal themselves via their own constitution. But that’s not quite what’s happening here. At least not exactly. - Matt Smith Chavez, San Francisco Contributor


Installation view of “Paintings For the Future.” 2015. Courtesy of Jessica Silverman Gallery and the artist.

Listed under: Review

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