#Franklin Parrasch Gallery

[abwwia]

Joan Snyder, Duet in Three Parts, 2021. Oil, acrylic, ink, paper mache, burlap, paper, twigs, leaves on linen in two parts, overall: 60 x 64 inches. Courtesy Franklin Parrasch Gallery.

#bornonthisday Joan Snyder (born April 16, 1940) is an American painter from New York. She is a MacArthur Fellow, a Guggenheim Fellow, and a National Endowment for the Arts Fellow (1974).

Snyder first gained public attention in the early 1970s with her gestural and elegant "stroke paintings," which used the grid to deconstruct and retell the story of abstract painting. By the late seventies, Snyder had abandoned the formality of the grid. She began more explicitly incorporating symbols and text, as the paintings took on a more complex materiality. These early works were included in the 1973 and 1981 Whitney Biennials and the 1975 Corcoran Biennial. Via Wikipedia

[antronaut]

John McCracken - On Stream (1998)

[blckgurlnysemester-blog]

9/20 - The Met Breuer, Pace Prints, & Franklin Parrasch

           Today we went to the old Whitney, well The MET Breuer, followed by Pace Prints and Franklin Parrasch Gallery. We were in the Upper East Side, and as everyone knows it isn’t cheap. Before I start talking about my surroundings, I’ll speak about the exhibit at the Breuer. The exhibit we saw was “Delirious”, made up of many artists collaborating not willfully together but because the curator was like, “let’s make a collection that sums up these artists’ reactions to conflict within politics and the military, distrust in social parties and the world at large, and just plain obsessive behaviors that led to speak about mental illness. The show was spill into four parts, and each part served its own purpose. The exhibition’s job as a whole was to move you subtly and effectively through each phase of delirium. Was it successful? Yes.

           For those who were interested in each part of Delirious I think it was very successful and cohesive, but for me whenever I felt uncomfortable or the works just didn’t seem that relatable to me, I got lost. I felt like going into the nearest room that grabbed my attention instead of following a certain protocol. Subsequently, these artists reminded me of the Dada movement/era where lots of people were fed up with the government and basically wanted it to be known, but in a way, that wasn’t conventional. A way that showed how irrational the world is and not how “crazy” they are. Let’s face it, whenever you spark a conversation that shows how much you don’t agree with the route the president is taking that a mass majority agree with, you’re seen as a bit off your rocker.

           The most successful section for me had to be when it moved from abstractions to actual human bodies, whether the body be disarranged or pulled apart. I think inserting self into it was made more easily because the viewer is able to identify that something is human. For example, “Ladder” created by a Yayoi Kusama creates a conversation of obsession, feminism, and furniture. She speaks about feminism because in a “man-made world” women are told two things repeatedly. One, that they cannot work because they are too fragile. Two, that when they do work they must work like a man. There’s also a sense of in order to get to the top you have to step on as many penises as you can because with men it’s always a contest to see who’s got the biggest junk. By that I mean it’s a constant battle of comparisons and how it’s not even about how well you do your job, it’s about appearances and how well you can finesse those above you. It speaks about obsession and furniture because she uses a ladder and plasters uncircumcised penises to it with hints of femininity but the most prominent would be a pair of heels walking up the ladder. There’s not much context of it being a ladder, and at first glance you’re not able to recognize that you’re looking at a collage of dicks. I thought that was interesting, and I felt like I saw all that I needed to see at Delirious because that one piece.

           After leaving The Breuer we visited Pace Gallery and Franklin Parrasch Gallery, both have alum working inside. It’s pretty cool being able to get the inside scoop of what’s going in upscale galleries. Although it’s an upscale area, the most memorable for me was how small Pace Galleries’ elevator was. I personally didn’t enjoy it and gave me anxiety, but maybe after viewing Delirious my senses were a bit heightened. Overall the gallery visits went well and we learned about behind the scenes and what was needed to run a successful gallery. It’s really all about teamwork. I appreciated the mini lectures, although it’s difficult to see myself having that job as a living. It opened my mind up to possibilities.

[capyrancher]

Franklin Parrasch Gallery

[l-ikn]

(via Peter Alexander | Franklin Parrasch Gallery)

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Ken Price Eggs @ Franklin Parrasch Gallery

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Peter Alexander, “Menlo”, 1990. 

30 x 33 inches. Acrylic on canvas.  

Franklin Parrasch Gallery, New York.

[soniaaristo]

“The Natural” at Franklin Parrasch Gallery, New York

“The Natural” at Franklin Parrasch Gallery, New York

Franklin Parrasch Gallery is currently presenting a group exhibition, “The Natural,” on view through March 23, 2019.Dedicated to the life and art of Madeline Parrasch, and to the immeasurable influences she had on the minds of many she encountered, the exhibition includes sculpture, painting, and works on paper by eight artists of varied generations spanning from the Vietnam War era to the…

[lingxij-blog]

Journal entry Sep 20 Met Breuer and Pace Prints, Franklin Parrasch Gallery

Today is my first time visiting The Met Breuer. The Delirious exhibition is divided into five thematic parts: Vertigo, Deranged Grids, Excess, Nonsense, and Twisted. The years between 1950 and 1980 are a special time period because of so many global unrests like the cold war. The destabilization demands more unusual artworks about the social issues. I saw artists embrace irrationality, illusion, absurdity, morbidity and even chaos in this exhibition. They express their emotions and feelings through the representations of disorder, repetition, and disorientation and so on. They want the viewers to think about their own places in this disordered world. Obviously, they achieve success.

The first part is Vertigo. I took a picture of a work named Untitled. It mainly made of mirrored glass that can reflect people’s images. A series of nested shapes are mirror images of the others. The work is related to the idea named phantasmagoria because these pieces hide their own logical structures behind reflections. The second part is about Deranged Grids. No other forms can express rationalism better than grids because grids always emphasize the integrity and order. However, artists in this exhibition show the potential qualities of grids by deforming them. Therefore, grids become another version of chaos and disorder. There is a video about the performance of gender, makeup and flowers there. I like to see the video become a new media of artistic representation. I also like the artwork named 13/13. It is made of painted balsa wood. The architectural elements in this systematic structure are very irrational. Excess has the biggest number of artworks. The key word is repetition. So many repetitions make me feel sick when I staring at them for several minutes. The artists try to create a sort of absurdity, even morbidity by these extremes. Ladder is really a shocking work with representations of sexuality, the dominance of landscape and shoes. It is a typical example that irrationality conquers the rational world. Nonsense part is really an abstract one. It is similar to Dada. And for the part of Twisted, I see the emphasis on the distorted body shapes. It against the ideal body beauty that originated from ancient Greek culture. Because of the social unrest, the artists try to present the social violence in their works.

Pace Gallery is the first place we visited in the afternoon. (Another place I never been! This class really help me get familiar with every place in New York City) John Hoyland is a British abstract artist who works in New York City for several years. Because he gets inspiration from American Abstract Expressionism, almost every his work is on a large scale and painted with acrylic. At my first sight, I thought they are color field paintings. Every painting depicts large geometric shapes and each shape interacts and overlaps with each other. I see he carefully arrange what kind of shapes to use and locate specific colors in every painting.

In the afternoon, we also paid a visit to an interesting gallery. There are some nice pieces about weird aliens inside. The most intriguing one is a large figure with a colorful halo head. I also like the painting which depicts Superman in a childlike way.  But the most knowledgeable part is listening to the working experiences of Katie.

To conclude today, it was really a fascinated one because I saw great works from the post-war period. The unusual social unrest is the main incentive that so many artists come out new ideas against the traditional beauty.

Works cited: Introduction papers of each gallery.

[zmlart-blog]

September 20th, 2017

Today we visited the Met Breuer and a couple different galleries to meet alumni and talk about their journeys. To begin the day, we went to an exhibition titled “Delirious: Art at the Limits of Reason, 1950-1980”.I read a critique on this exhibition online before class and I was very interested in seeing it in person. The second I walked in the room I had the premonition: there was going to be an Eva Hesse piece in this show (it’s one of my weird little talents). I was curious because I absolutely ADORE Eva Hesse, but I wasn’t so sure what she was doing in an exhibition about delirium. To me, her pieces are always very clean and organized, which is part of her charm for me. However, when I saw the piece that was in the exhibition (shown in the first image), I understood why she was included. Not only was the piece itself interesting in that it disorients the viewer, but the process that Hesse had in making it, which was always very careful and calculated, was also very hypnotic. When you do the same motion for a long time, especially when creating art, it inhabits your body, almost taking over and causing you to go onto a trance. When I am doing wrapping works such as what Eve Hesse sometimes worked with, I have to set myself a timer or else I’ll get lost in the process, which I find very therapeutic. That was when I began realizing that sometimes it wasn’t just the pieces that caused the viewer delirium, but sometimes also the processes and practices that the artist used causing their own delirium or trace-like state. This was particularly interesting for me when I went back and look at the pieces of the Brazilian artists involved in the show that were involved in therapy as well. Their geometric structures seemed to have a new meaning to me, a way of organizing the crazy world around themselves and those they were working with, as well as a way to escae from reality for a while. We then visited the Pace Prints and Franklin Parrasch galleries to meet with alumni. In Pace Prints, what was most interesting to me was seeing one of the people who made me want to be an art major again. It sort of brought my art journey at Drew into more of a full circle and made me realize that people my age could also be successful in the art world. At Franklin Parrasch, I really enjoyed the exhibition that was up which was all centered on the theme of aliens and space (see the title of the exhibition in the last image shown). During my time in New York City so far, I’ve noticed that I tend to be more interested in exhibitions that are based on themes or eras than on a particular person. This may be due to the fact that I like variation, or that I like themes in artwork, but I also just enjoy seeing multiple peoples’ takes on the same ideas.

[abwwia]

Joan Snyder, Ode to Monet, 2021. Oil, acrylic, paper mache, burlap, dried flowers, flower stems, paper, wooden hoop on canvas in two parts, overall: 32 x 96 inches. Courtesy Franklin Parrasch Gallery.

[thanchaptakesnyc]

September 20th, The Met Breuer, Pace Prints, and Franklin Parrasch

I had never been to The Met Breuer before or after it was the Whitney so I went into this museum pretty blind.  The majority of our time there was spent making our way through a series of various exhibits that were meant to evoke specific psychological or even physical emotional or psychological responses.  Delirious: Art at the Limits of Reason was broken up into four different segments.  I feel all of the segments honestly did a great job in making me feel something in the more direct  and specific way they were supposed to. The first was vertigo.  In Vertigo there were works that required a lot of attention, but weren’t very forgiving if you looked too hard.  Abraham Palatnik’s untitled work from 1976 was this entrancing, but disorienting piece of cardboard and paper.  Looking at it for too long did make me feel that queasy vertigo feeling.  Next we moved into excess.  Excess for me had the most interesting pieces.  I was first drawn to Eva Hesse’s Accession II, 1969.  I just really admired the fact that the artist herself painstakingly pushed and threaded all those little rubber tubes through that cube.  My favorite part of this exhibition, which I also found the most disturbing, was the introduction to the Nonsense section.  It was this video of close up mouths in a dark small space with what seemed to be non diegetic sounds playing alongside the film.  The sounds were just as grotesque as these almost demonic looking mouths.  It was really interesting to witness and experience, but it was very disturbing and made me pretty uncomfortable.  Next we were headed to Pace Prints to meet up with Drew alumni and my mentor from my freshman seminar, Sylvie Harris.  I liked seeing Sylvie work in a professional environment and it was nice to see her doing her thing and being successful.  I really enjoyed the space of the galleries in the building and the works that were up.  Th best part was being trusted to actually handle some of the works.  Even if it was very minimal.  Sylvie said that sometime people aren’t as respectful as our group and she told a story about how one time there was blood all over one of the pieces and she had to clean it up.  I liked catching up with her a little and learning more about what she does within the art world.  I am curious to see where she is headed next!  Last, but not least we went to the Franklin Parrasch gallery.  The work on the walls had a theme of space as in like space and aliens and extraterrestrials.  I thought that all of the pieces were very unique and I loved how they call came together.  My favorites were the group of four drawings.  They each had a monochromatic palette consisting of blueish green hues, black, gray, and white.  Their presentation appealed to me because of the way that there was a blank space on the lower half of the drawings that was kind of a relief.

[jessicagianna]

The Met Breuer, Pace Prints, and Franklin Parrasch Gallery

September 20

Today was a very noteworthy day in all-different facets because we were able to see a more survey look at art history and in particular, the different movements that occurred throughout the 1950s-1980s in a show called Delirious at the Met Breuer. It was interesting to see the different categories represented within the thematic show like Vertigo, Excess, Nonsense, and Twisted, and it also showed about 100 different artists coming from different backgrounds and upbringings. I don’t remember going to a show where I consciously knew that each of the pieces were placed in a specific location and were surrounded by other artworks that it wasn’t meant to be with or were never associated with. The overall energy of the show (to me) was very overwhelming because there were so many different pieces that exuded different kinds of messages and it was an overwhelming sensory experience. Seeing Hélio Oiticica’s work within the context of Delirious made me put into perspective what we would see that Friday with his show at The Whitney. It was interesting to learn about his past and the political environment he grew up in and how that influenced his work, especially with his pieces that referenced the mental institutional drawings. I appreciated the socio-historical perspective that I saw in his pieces and also the context of war and violence. Fitting into the theme of Delirium, the Larry Bell piece does a fantastic job of defying the typical rectangular shape and extends the boundaries of the canvas because of the use of mirrors and shaped edges. While going through the overall show, I felt that I was in a hallucinogenic state because it was just one trippy experience, which also adds to the artist’s method of making but viewing as well. We then went to the Deranged Grid gallery and the Andy Warhol piece stood out to the most because of the pop art factor and use of color. Yet it is ironic that there were brighter colors with such a serious and dark subject matter. Another piece that was interesting and had me dumbfounded was the Yayoi Kusama piece called Ladder, which was made in 1963. I was attracted by the connection that Kusama had with the theme of the show Delirium because of her reclusive and institutional past. As I continued to look at the ladder, I began to see new pieces and editions on the ladder like the high heels and really began to see a fetish aspect to the piece along with a hyper sense of femininity. After we left The Met Breuer, we went to visit Sylvie Harris at Pace Prints where we learned about what it meant to run the day-to-day operations of a gallery like location and I was just like a kid in a candy-store when I saw all of their collections and artists in the shelves in the back room. I remember just pulling Chuck Close pieces out and other famous artists and I was just in awe to have these kinds of prints in my fingerprints. After being in Pace Prints, we then ventured to Franklin Parrasch Gallery to see “get outta that spaceship and fight like a man.” Katie Overgaard, who was the Director of the Gallery, was able to tell us about the history of the gallery and the kind of work that they try to get into their gallery. I am still pondering about why the owner of the gallery would consciously chose pieces that were made or produced in Southern California and were also focused on migration. This theme of migration is very ironic with the UFO references and space exploration sections because it is a different form of migration (to an outer world).

[gallerytally]

Melanie Pak

[abwwia]

Joan Snyder, Symphony of Pain and Joy, 2022. Oil, acrylic, paper mache, paper, pencil, ink on linen, 54 x 66 inches. Courtesy Franklin Parrasch Gallery.

[soniaaristo]

Wanda Koop’s “Reflect” at Franklin Parrasch Gallery, New York

Wanda Koop’s “Reflect” at Franklin Parrasch Gallery, New York

Franklin Parrasch Gallery, New York, is currently hosting a solo exhibition by Wanda Koop, “Reflect,” on view through December 21, 2018.The exhibition showcases a collection of the artist’s latest works. The “Reflect” series embodies the artist’s refusal of her feelings of horror and hopelessness related to recent acts of violence towards women and girls in her city.“Through her works the artist…