extended! through December 1, 5pm

 David Ambrose, Patrick Brennan, Sarah Mattes, Lucy Mink, Sean Greene

Roos Arts in Rosendale NY

Excursions on a Wobbly Rail curated by Brad Hajzak

Lucy Mink, Sarah Mattes, Patrick Brennan, David Ambrose, Sean Greene at Roos Arts in Rosendale NY opening on Oct 13, I am thrilled to be included in this great group of outstanding artists!

With or Without Me, 2012 silica on canvas, 30 x 42 inches

Jack Greene

website

Taiga Ermansons' modest powerhouse

If you went to the Victory Theater in Holyoke you might have missed this one.  her website here

Chris Nelson, Victory Theater, Holyoke, MA

Lots of great installations at the decaying Victory Theater in Holyoke. This one is by Chris Nelson, great photo by John Haeber (I stole the photo off his Flikr page). This piece made me say Wow! Out loud and I was by myself. It is made of Latex, light, sound. Visitors could tap the sculpture gently to hear a amplified, but gentle echo. Exquisite!

More info:
Olivia Bernard, Torsten Zenas Burns, Taiga Ermansons, Kari Gatzke, Amy Johnquest, Chris Nelson, Joshua Vrysen, Christopher Willingham and Angela Zammarelli

Exhibit Open: September 21 – November 18, 2012  

For appointment call 413-297-0786

Benefit for IS183: you get art and get to support a great organization too!

I have a new painting on view along with a lot of wonderful artists in the show Soul Appetite curated by Geoffrey Young and Suky Werman at the Barn Gallery in Lennox, MA. through August 24  
info:http://www.stonoverfarm.com/barngallery/
some of the other artists include Dee Shapiro, Carol Diehl, Nichole Van Beek, Justin Valdes, Sue Knoll, and Phillip Knoll.
If you take home some art, you will also be supporting scholarships for aspiring young artists who may not otherwise be able to take classes at IS183. Check them out here

IF WE WAKE UP, 2012 24 x 18

William Baczek Fine Art Northampton

This piece "Traveling Home" (title inspired by Hazel Dickens, who I was listening to while trying to think of a good title for this painting) and others on view at William Baczek Fine Art in Northampton MA starting this week through April. Stop by if you are in the neighborhood.

William Baczek Website

article in Amherst Bulletin

article in Amherst Bulletin about UMCA's Letterpress project, Pressing Matters

New Image Art in West Hollywood

new painting I just sent to Rich Jacobs for his show at New Image Art in West Hollywood. Titled: What is not, but could be if. size 20 x 23 inches. 7920 Santa Monica Blvd. through February 18. website

Casheesh Now

Casheesh Now is up for three more days at Geoff Young in Great Barrington. (through Sunday, 12/11) You can get some great work for 400 or less!

Warren Isensee

Nichole Van Beek

Making Art with wheelchairs, skateboards and strollers.

(photo:Kate Milford)

Last weekend I had the great opportunity to help kids and their families make abstract paintings using wheelchairs, strollers and other wheeled things at a workshop organized by Eliza Factor of Extreme Kids and Crew in Brooklyn. About a year or so ago I worked out this way of doing a multiple pass mono-prints using a skateboard for workshops I conducted at the Artisphere in Arlington, VA (in conjunction with the exhibition, Skateboarding Side Effects curated by Cynthia Connolly, with the workshop programing by Lisa-Marie Thalhammer). The simple process involves rolling out house paint onto a plastic covered floor, then placing paper or canvas on top of it, finally rolling around on the back of the paper. When you lift the paper, an impression is left from the weight of the wheels, making sometimes beautiful calligraphic images.


This is one from the Artisphere Workshop done by skateboarding on the paper.


This is me and my friend Susie who visited me, giving the wheelchair a try for the first time(Artisphere photos: Sarah Flynn).

another skateboard one.

Twin Infinities curated by Sam James Velde and Rich Jacobs

I am super excited to have work in this show in LA. here is one of the paintings I sent out and the Flyer. Twin Infinities curated by Sam James Velde and Rich Jacobs. Cynthia Connolly, Damon Robinson, Karoline Robinson, Chris Duncan, Billy Sprague, Calef Brown, Sean Greene, Sandy Yang, Jeff Coad, Tim Kerr, Ben Clark, Jordin Isip, Mike Sutfin, Matt Leines, Rich Jacobs, Chris Shary, Caleb, Bert Queiroz, Melinda Beck, Ryan Patterson, Sam James Velde, James Gallagher, Stephen O'Malley, Chris Johanson, Clint Woodside, Chrissy Piper, Josh Turner, Ross Farrar, Pat Graham, James Ross, David Pajo, Otis Bee, Jim Brown, Sonny Kay, Cali Dewitt, James Wall, Malia James, Lee Spellman, Makr McCoy, Jason Farrell, Nina Hartman, Atiba Jefferson, Magdelena Wosinka and more.

article from the Brooklyn Rail by Sharon L. Butler

I'm republishing this article from the Brooklyn Rail. I hope Ms. Butler and The Rail don't mind. I think it is well said. May I add to the precursors: Paul Klee, Mary Heilman, Anni Albers? (Noted, I'm not sure my own work is exactly this but I certainly feel an affinity to these words, and feel charged up by the work I am sure it is referring to.)


ABSTRACT PAINTING: The New Casualists
by Sharon L. Butler

The pioneers of abstraction—the Cubists, the Abstract Expressionists, the Minimalists—emerged from firm and identifiable aesthetic roots and developed their own philosophies. In the competitive maelstrom of 20th century art, those philosophies became dogmas, and the dogmas outright manifestos. In the new century, many abstract painters are saying goodbye to all that didactic thinking and exuding a kind of calculated tentativeness. Raphael Rubinstein, in a 2009 Art in America essay and for a 2011 painting exhibition he curated in London, dubbed this new type of abstraction “provisional painting.” Similarly, artist and critic Stephen Maine homed in on the “incipient image” in a March 2011 show he curated at Lesley Heller. And the Brooklyn curatorial team Progress Report (aka Kris Chatterson and Vince Contarino) styled its survey of contemporary abstraction at the Bronx River Art Center The Working Title. All three labels suggest the centrality of the open proposition in contemporary abstraction.
Martin Bromirski, “Untitled” (2011). Acrylic, sand, paper on canvas. 20 × 16˝.
Rebecca Morris, “Untitled (#06-10)” (2010). Oil on canvas. 59 × 59˝.

There is a studied, passive-aggressive incompleteness to much of the most interesting abstract work that painters are making today. But the subversion of closure isn’t their only priority. They also harbor a broader concern with multiple forms of imperfection: not merely what is unfinished but also the off-kilter, the overtly offhand, the not-quite-right. The idea is to cast aside the neat but rigid fundamentals learned in art school and embrace everything that seems to lend itself to visual intrigue—including failure. The painters take a meta approach that refers not just to earlier art historical styles, but back to the process of painting itself. These self-amused but not unserious painters have abandoned the rigorously structured propositions and serial strategies of previous generations in favor of playful, unpredictable encounters. Pervading the work of artists like Lauren Luloff, Cordy Ryman, Amy Feldman, and Joe Bradley is an enervated casualness that may at first recall sophomore-year painting class.

If this sounds disparaging, it’s not meant to be. By reassessing basic elements like color, composition, and balance, based on 1920s-vintage Bauhaus principles taught in every 2-D foundations course, the new painters are exploring uncharted territory. They are looking for unexpected outcomes rather than handsome results. Dashing our expectations of “good painting,” painters like Martin Bromirski, Patricia Trieb, Patrick Brennan, Jered Sprecher, and Keltie Ferris have challenged their validity and thus moved painting in a direction that requires a different way of looking.If a painting seems lousy, perhaps with a poorly constructed support and amateurish paint handling, look again.

Some painters focus on developing a style and spend 20 years refining it. These new abstract painters, on the other hand, are restless, their thrust less intensive and more expansive. Artists like Rochelle Feinstein and Chris Martin (whose first museum solo opens at the Corcoran on June 18) combine non-art materials in their paintings just for the hell of it, work at different scales, employ different color combinations, and experiment with unusual ways of applying paint. With less investment in honing a unique visual language, painters like Kadar Brock, Rebecca Morris, and Jasmine Justice use earlier forms of abstraction the way Rauschenberg used found objects. In the process, there is no room for handwringing about originality; it is simply assumed that it will result from synthesis and recombination. And if it doesn’t, well, isn’t that just as interesting?
Patrick Brennan, “Flow and Fade” (2011). Mixed media on canvas. 72 × 48˝.
Amy Feldman, “Ever After” (2010). Acrylic and spray paint on canvas. 80 × 90.˝

Insofar as the new abstract painters employ old tropes and methods with a certain insouciant abandon, one might call them the new casualists. Yet they are not as iconoclastic as they might appear. In Malevich and the American Legacy, a recent exhibition at Gagosian, curator Andrea Crane attempts to position Malevich’s Supremetism as a progenitor of Minimalism. But in my view, Malevich’s small-scale, quirky abstractions have more in common with the new casualism than the austere, highly refined minimalism of Judd, Stella, Kelly, and the like. Malevich believed that pure feeling was to be found in non-objective painting, and that materialism could lead to “spiritual freedom.” Both Malevich and the new casualists, who approach their work intuitively, are unfazed by ill-defined parameters or truncated lines of thought. Like the philosopher-mathematicians who devised “fuzzy logic,” new casualists, like Suprematists, seek to accommodate a world in which there is often no clear truth or falseness. On balance, they are more intrigued by the questions and contradictions in art than by any definitive answers it might provide.

At Jason McCoy, Stephanie Simmons curated 70 Years of Abstract Paintings: Excerpts, which comprises a good survey of small-scale work by more than 40 artists. The exhibition presents a convincing historical context for the new post-Bauhaus abstraction. Old paintings by Josef Albers, Gene Davis, Jackson Pollock, Al Held, Man Ray, Hedda Sterne, Hans Hofmann, Leon Polk Smith, and Friedel Dzubas are hung side-by-side with recent work by Jim Lee, Joe Fyfe, Rob Nadeau, Sharon Horvath, Cora Cohen, Gwenn Thomas, and Thomas Nozkowski, among others. For most of the artists, their experience of everyday life is the filter through which they focus their paintings, entertaining multiple contradictory ideas at once. Although many of the artists included in the exhibition also work larger, Simmons selected small-scale work so that she could fit as much as possible into the show without marginalizing the smaller pieces. Tellingly, the smaller paintings tend not to be studies for larger work; rather, she told me, “working at different scales is one way they avoid a formulaic approach.”

If the new casualism resists evaluation on traditional criteria, how should it be judged? Here, perhaps, the Minimalists are relevant. Ellsworth Kelly once said, “I have never been interested in painterliness…putting marks on a canvas. My work is a different way of seeing and making something which has a different use.” A new casualist might well make the same general claim. But while Kelly wants to take the personal out of the equation, the casualist believes that exploring even mundanely subjective perceptions can yield extraordinary insights. In many ways, the new approach to abstraction is indebted to female artists of the 1970s like Elizabeth Murray, Mary Kelly, and Ree Morton, who, railing against the macho posturing of the Minimalists, worked from an intimate point of view that embraced messy everyday detail. The new casualists are adapting a like attitude to an increasingly complex, unfamiliar, and multivalent world. If the viewer leaves a show of their paintings agitated by their abrupt shifts, their crosscurrents, and their purposeful lack of formal cohesion, the work has succeeded.

check out this double deal

EACH PRINT: WAS $50, NOW $30
Offer expires at 8:00 p.m. ET 6/3/11

Today's Friday Flash brings you prints from Gary Petersen and Sean Greene, whose works are appearing (along with that of Vince Contarino) in the show Traction at the Geoffrey Young Gallery in Great Barrington, MA, now until June 23rd. To us, it makes perfect sense these two color-driven abstract artists are paired together. Both offer an exhilarating combination of fidelity and spontaneity—lines and colors are laid down precisely while bearing the mark of the artists who created them. Strict and calculated geometry sways with velocity and motion. As Jen has said about Gary's work (a sentiment easily shared with Sean's work, as well):

The colors and the crisp, almost graphic, quality of the image combine to create an exuberance that leaps off the screen and into my heart. I love work that makes my heart race.

Prints of Let Love In @ 20x200

Check out the new prints from 20x200 of the painting Let Love In.

Traction at Geoffrey Young Gallery

Traction at Geoffrey Young Gallery opens this Saturday in Great Barrington, MA 5:30-7:30.
40 Railroad Street 2nd Floor. It will feature my work with Gary Petersen's and Vince Contarino's.

Show is up May 28-June 23 Thursday through Saturday 11-5pm

hold that thought

snapshot of a new one. 24 x 36 inches

Gouache

I have been working at trying to use Gouache paints effectively. I am happy with this one. The medium requires me to slow down, and really arrive at the colors that are in mind.

clumsy and graceful

Preview Massachusetts Article, by Laura Holland, November 2010.

Float and Stay On:
Sean Greene sees the light in skateboard moves and color interaction


Attempts to convey an essential experience of light animate Sean Greene’s paintings, coupling abstracted form with exuberant color and connecting calculated austerity with intuitive flow. “I was going after the sensation of light and understanding how it works in our world,” he says.
Greene began by strategically observing rectangles of light streaming in through a window and then reducing that visual information to its underlying geometry. As he explains, “I was playing with rectangles and parallelograms, creating what I call ‘light forms,’ and getting deeply engrossed in the study of color.” He was not interested in a literal depiction but in the pulsating impression of light and color, evoking an emotional content or a contemplative state.
“We’re blasted with visual information that most of the time wants to sell us something,” he points out. “My goal is not to sell anything, but to help people towards a meditative consciousness, for an awareness of looking at art that then extends out into the world.” He hopes people will walk away from his paintings with a heightened perceptual awareness, thinking, “Wow! Look at that light!” while gazing around their own worlds.
At first, he made paintings that seem monochromatic, but slowly reveal very slight, very subtle differences in color saturation. To achieve these small variations, he used syringes to precisely measure and mix color in mathematical increments. But he found very few people could commit enough time to recognize such super subtleties. He says, “You almost had to live with the work to ‘get it.’ I wanted to give people more entryways into my work and bring them along with my joy in color and light.”
So he increased color contrast and added curves to the composition. In the “Typograph” series, ribbons of saturated color twist against a gray background, to create an effect of layers through variations in intensity. Greene still used syringes to meticulously measure more or less of the background gray into the colored pigments, but the forms themselves begin to dance.
“It’s very basic stuff: figure; ground,” he demurs. The closer the figure is in color to the background, the more it recedes. The greater the difference between figure and ground, the more the figure pops forward. Describing his methodical approach he says, “I thought, if I do it in mathematical increments, it will always work…and it worked up to a point, until I started using multiple colors.” Then, he discovered, doing the math didn’t account for different pigment strengths or the complexity of color interactions.
“Typograph Seven” has strands of three different hues, which, he says, “created all sorts of complications, leading me to question the whole mathematical part of color calibration.” So he abandoned formulas to embrace a more intuitive approach. “It brought me to creating an atmospheric, spatial experience with colors drawing paths through an ambiguous space,” he continues. “These curved forms opened so many doors to ways of describing space, and then space, in turn, related to how we experience light.” He caused further complications by changing the neutral gray background to a more assertive dark red in the “Calligraph” series and creating, with contrastive color, complex overlapping forms.
These forms, he says, start out intuitively, influenced by “a major force in my life, which is skateboarding.” Greene also recalls that his initial attraction to art started with seeing graffiti spilling over the walls of New York, in “an explosion of colors and shapes, words I couldn’t read…it was visually so exciting.” He sees, in retrospect, that the fragmented letter forms in both “Typographs” and “Calligraphs” hark back to graffiti. “I don’t see my work as ‘skateboard painting,’” he emphasizes. However, the swooping lines convey a sensation of weaving and floating, sinking and swirling, and, as Greene explains, the rhythm of skateboarding gives him access to playfully improvise with form and flowing movement in space.
Moving along from monochromatic paintings to the austere gray “Typographs” to deep-red grounded “Calligraphs,” Greene’s latest paintings take a giant leap into fields of foreground color. “Suggestions” intermingle figure and ground with forms that spill off the edge of the canvas. Has also started titling work, as he says, “to give people more access to what I’m doing.” The titles don’t explain, but come from words or phrases with some resonance. “They suggest something else and lead me to another idea,” he says. “ ‘Try Letting Go’ –well, that’s advice I give myself.” Another painting draws its title, “Float and Stay On,” from his comment to a fellow skateboarder at the flow bowl in the Northampton Skate Park.
In the “Calligraphs,” the red ground surrounds and contains foreground images. But in the most recent paintings, he says, “I started letting things go…and they go right off the edges.” The paintings become a window into a world where bands of light extend beyond what our eyes can see. This canvas as a metaphor for a window, notes Greene, is traditional Renaissance view of painting, and this idea also loops back, in reverse, to his earlier studies attempting to capture and convey the effects of light entering through a window into the viewer’s space.
The forms painted on an outdoor mural not only go off the edge but also around the corner (on two walls outside Bread Euphoria in Haydenville). This mural has the red ground of the “Calligraphs,” but like the “Suggestions,” its lines of color swoop to the edge. It’s a brilliant splash of color snuggled among the weathered wood of the building. A row of blue-glazed pots and a spiraling green hose extend the colors and flowing lines into the environment. Greene notes that the cinderblock surface, along with the scale (eight by twenty-six feet), posed challenges, as did a drainpipe, which he carefully painted over as part of the ebb and flow of color. A recessed doorway, electrical wires, and overflow pipes are similarly swept into the overall design.
Greene brushes aside some cobwebs and twists the knob on the door. “I really like the way I can literally enter the space of the painting,” he says as he steps inside, turning the traditional “window” of the painting into an entryway for perception.

Washington City Paper blog : nice!

check it out here

20x200 edition of work in Skateboarding Side Effects

If you have just seen the Skateboarding Side Effects Show in Rosslyn, One of the paintings is available as an archival print reproduction at 20x200, a wonderful group who invites artists to do affordable limited editions in the company of many great artists. The prints start at 20 dollars for 8 x 10 inch and increase according to size. Check it out!

Skateboarding Side Effects

Skateboarding Side Effects is an astounding show, I am so proud to be in it. Cynthia Connolly really took the idea of looking at how skateboarders see the world differently and put together a show of exquisite, personal responses to the human experience from the point of view of skateboarders in a way that has not been seen before. Through November 28. more

ready for the Artisphere

On Monday I am driving down to Arlington, VA with a big box on the roof of the car. I am excited to be showing 3 paintings, and 3 photo montages in a group show curated by Cynthia Connolly called Skateboarding Side Effects, a multi media show of artists who all have been influenced by their involvement in skateboarding. The nice thing about this show is that I don't think you can really call any of it "skater art". Or, it really expands what we normally think of. Reception 10/14/10. Terrace Gallery at the Artisphere.

The Artisphere is a brand new art space, that is formerly the home of the Newseum (relocated to the DC Mall). There are all sorts of events celebrating the space and the exhibitions. more

Matt Marek 8/2010