#Steven Harvey Fine Art Projects

[longlistshort]

steven harvey fine art projects is currently showing several of Susan Lichtman's paintings for the exhibition Autofiction. Through her use of light and color, her domestic scenes become enchanting.

From the gallery-

Autofiction is a genre of literature that combines autobiography and invention. Lichtman paints scenes of her household and family, however her works serve a novelistic function instead of a documentary one, creating what she thinks of as fictions, which attempt “mystery and specificity at the same time.” Working from memory to depict her own home “somehow allows for a more resolved image.” These scenes are the emotional result of prolonged meditation; portraits of continuity and change over time rather than immediate snapshots. Lichtman’s practice is situated within a long history of painting domestic interiors, her recognizable motifs of household objects and figures invoke a sense of ease and familiarity. It is her distinct perspective – that of an insider as well as observer – and her autofictive blend of observed truth and imagination that gives the work its singularity.

Working in the intimist traditions of Vuillard and Bonnard, Lichtman is a subtle and skillful colorist, creating complex harmonies on a large scale. She states, “to me, close-valued color is magical. It’s a way for the paint to imply the fiction of light and air. A palette of close values also gives the picture a kind of envelope into which everything is placed.”

This exhibition closes 5/24/24.

[hyperallergic]

“In Anne Harvey’s pastels, she complicates each scene with reflective surfaces and, in one case, draws on black paper. In her paintings, boxes of kindling and her fireplace are recurring subjects. The line in her drawings shares something with that of Aubrey Beardsley and Vincent van Gogh, and yet it is all her own. This is true even of her early work. 

 Although she did not date her pieces, external evidence and other marks indicate when a work was done. There is no doubt that she made her painted portrait and drawing of Brancusi while she was a teenager. Harvey was prodigy.” 

John Yau reviews Anne Harvey and Raymond Mason: In Paris at Steven Harvey Fine Art Projects.

[sinterhinde]

Clintel Steed

The Death Of Socrates, 2020 (from the series Allegory of Now)

Can't apologise enough for the poor quality - I'm rushing to post as many paintings as I can in about ten minutes.

I'm watching a panel discussion called 'Painting and Meaning' facilitated by the New York Studio School. This is how I was introduced to Clintel Steed. More thoughts coming in later.

BIO:

(b. 1977, Salt Lake City, UT) received his BFA from the School of the Art Institute of Chicago and his MFA from Indiana University, and completed Advanced Studies at the New York Studio School of Drawing, Painting and Sculpture. His work has been featured in numerous solo and group exhibitions, most recently Clintel Steel: Endymion at Steven Harvey Fine Art Projects, New York; Emoji Show at Klaus von Nichtsagend, New York, and So Much, So Little, All At Once at Regina Rex, New York, among others. He is the recipient of the John Koch Award from the National Academy of Arts and Letters, and recent press includes Hyperallergic, Artcritical, and The New York Sun.

Clintel Steed lives and works in New York City. Clintel Steed, an American artist living in New York City, holds a BFA in Painting from the Art Institute of Chicago, an MFA from Indiana University and completed Advanced Studies at the New York Studio School of Drawing, Painting and Sculpture. (Clintelsteed.com)

https://www.clintelsteed.com/

[newyorkarttours]

Madeline Donahue at Steven Harvey Fine Art Projects

A mother’s body becomes a playground for her baby, whose sense of curiosity and play ignores boundaries in Madeline Donahue’s humorous paintings at Steven Harvey Fine Art Projects. Shifts in scale turn a mom into a giant as baby uses her hair like climbing rope; in other pieces, Donahue creates curving or angular geometric compositions from the antics of her exploring offspring. Through it all, the paintings charm with their sense of humor, patience and stoicism. (On view on the Lower East Side through Oct 5th). Madeline Donahue, Untitled, oil on canvas, 20 x 16 inches, 2019.

[catherine-white]

Stanley Rosen, Untitled (SR#23), 1966-69, unglazed iron-rich stoneware, 19 x 11 x 10 inches

Steven Harvey fine art projects

https://shfap.com/exhibition-images/stanley-rosen-shaping-space/

[skowhegan]

Susanna Coffey (F ‘07) In Her Studio Steven Harvey Fine Art Projects 208 Forsyth St., New York, NY  November 20 – December 24, 2019

[luvneedsnosyt]

My Favorite Albums of May 2019

My Previous monthly lists from 2019: January, February, March, April

You can find my list of my favorite albums of 2018 here And my list of my favorite EPs of 2018 here

Best:

Ally & AJ - Sanctuary EP Genre: Pop

Proof: Church / Not Ready to Wake Up

Ari Lennox - Shae Butter Baby Genre: R&B

Proof: BMO / Broke (Feat. JID)

Barrie - Happy to Be Here Genre: Indie Pop

Proof: Dark Tropical / Clovers

BAYNK - Someone’s II Genre: Synth Pop

Proof: Settle (Feat. Sinead Harnett) / Go with U

Beast Coast (Pro Era, Flatbush Zombies & The Underachievers) - Escape From New York Genre: Hip Hop

Proof: Left Hand / Bones

B00TY - High Art EP Genre: Synth Pop / Funk / Dance

Proof: Trust Me (Feat. Kill Nigel) / Blowing Up My Phone

Carly Rae Jepsen - Dedicated Genre: Synth Pop

Proof: No Drug Like Me / Right Words Wrong Time

Charley Bliss - Young Enough Genre: Indie Rock / Alternative

Proof: Capacity / Chatroom

Denzel Curry - ZUU Genre: Hip Hop

Proof: RICKY / BIRDZ (Feat. Rick Ross)

Diplo - Higher Ground EP Genre: Electronic / House / Dance

Proof:Hold You Tight / Win Win (Feat. Tove Lo) // Bonus: Spicy (Spice Girls Cover/Rework) w/ Herve Pagez Feat. Charli XCX

Dog Blood (Skrillex & Boys Noize)  - Turn Off The Lights EP Genre: Electronic / Dance / Dubstep

Proof: BREAK LAW / TURN OFF THE LIGHTS

DUCKWRTH - THE FALLING MAN Genre: Hip Hop

Proof: FALL BACK / A WILDFIRE (Feat. Mr. Carmack & Allan Kingdom)

Elohim - BRAINDEAD EP Genre: Electronic / Synth-Pop

Proof: tv / flagpole sitta (Harvey Danger cover w/ AWOLNATION)

Emotional Oranges - The Juice, Vol. 1 Genre: R&B / Neo-Soul

Proof: Personal / Unless You’re Drowning

FRENSHIP - Vacation Genre: Synth-Pop

Proof: Remind You / Wide Open // Bonus: MI Amore / LOVE Somebody

HÆLOS - Any Random Kindness Genre: Electronic / House 

Proof: Kyoto / Empty Skies

Injury Reserve - Injury Reserve Genre: Hip Hop

Proof: Jailbreak the Tesla (Feat. Aminé) / Wax On (Feat. Freddie Gibbs)

Izzy Bizu - GLITA EP Genre: R&B / Soul

Proof: Lights On / Someone That Loves You ‘19 (w/ Chris Martin)

Jamila Woods - LEGACY! LEGACY! Genre: R&B / Neo-Soul

Proof: ZORA / BALDWIN (Feat. Nico Segal)

Kaskade - Redux 003 Genre: Electronic / Dance

Proof: Go Slow (w/ Gorgon City Feat. Roméo) / Love Me Like You Used To (Feat. Cecilia Gault)

Kishi Bashi - Omoiyari Genre: Indie Pop

Proof: Summer of ‘42 / Violin Tsunami 

Lucky Daye - Painted Genre: R&B / Soul

Proof: Concentrate / Paint It

Matinee Commune - PDA Genre: Electronic / Future Bass

Proof: Famous (Feat. Cassandra Violet) / Carried Away (Feat. Allie Crystal)

MorMor - Some Place Else EP Genre: alt-R&B / Indie Pop

Proof: Outside / Pass The Hours

NIKI - wanna take this downtown? Genre: R&B

Proof: urs / move!

Skepta - Ignorance is Bliss Genre: Hip Hop

Proof: Bullet From A Gun / No Sleep

SNBRN - Solé Genre: Electronic / House

Proof: Feel My Love / Never Let You Go

SonReal - The Aaron LP Genre: Indie Pop / Alternative / Hip Hop

Proof: Fearless / Quit

SYML - SYML Genre: Indie Pop / Alternative

Proof: Wildfire / Break Free

TOBi - STILL Genre: Hip Hop

Proof: Locked In / Come Back Home (Feat. VanJess)

Tyler, The Creator - IGOR Genre: Hip Hop / R&B

Proof: EARFQUAKE (Feat. Playboy Carti, Charlie Wilson & Jessy Wilson) / I THINK (Feat. Solange)

Vampire Weekend - Father of the Bride Genre: Indie Rock / Alternative

Proof: This Life / Sympathy

Bonus:

Some previous projects I missed early and found during May.

The Grouch - Unlock The Box Released December 2018 Genre: Indie Hip Hop

Proof: Feel Alone / Pretty (Feat. YMTK)

The Grouch & DJ Fresh - The Tonight Show with The Grouch Released December 2018 Genre: Indie Hip Hop

Proof: Devoted / Indigo 100

Kasbo - Places We Don’t Know Remix EP Released April 2019 Genre: Electronic / Future Bass

Proof: Over You (Super Duper Remix) Feat. Frida Sundemo / Aldrg Mer (EMBRZ Remix) Feat. TENDER

Others:

Adela - On The Line EP, The Amazons - Future Dust, Berner - El Chivo, Big Thief - U.F.O.F., Calboy - Wildboy, Chase & Status - RTRN II JUNGLE, Christelle Bofale - Swim Team EP, Ciara - Beauty Marks, Collie Buddz - Hybrid, Curren$y & Statik Selektah - Gran Turismo, DJ Khaled - Father of Asahd, Flying Lotus - Flamagra, The Get Up Kids - Problems, The Head and the Heart - Living Mirage, Holly Herndon - PROTO, Interpol - A Fine Mess EP, Jai Waetford - Figure It Out EP, JAMESDAVIS - MASTERPIECE EP, Jeremy Zucker & Chelsea Cutler - brent EP, jesse saint john - don’t stop dancing. life gets sad. EP, J-E-T-S - Zoospa, Josephine Wiggs - We Fall, Judah & The Lion - Pep Talks, Kevin Gates - Only The General Gon Understand EP, KIAN - BLISS EP, Logic - Confessions of a Dangerous Mind, Mac DeMarco - Here Comes the Cowboy, Maribou State - Kingdoms in Color Remixed, Megan Thee Stallion - Fever, Middle Kids - New Songs for Old Problems EP, Miley Cyrus - SHE IS COMING EP, The National - I Am Easy to Find, no rome - Crying In The Prettiest Places EP, Oliver Dion - Exposed, Patoranking - Wilmer, PnB Rock - TrapStar Turnt PopStar, PRETTYMUCH - Phases EP, Raveena - Lucid, Rhye - Spirit, Rotimi - Walk With Me EP, SAFE - STAY, Santi - Mandy & The Jungle, slowthai - Nothing Great About Britain , StayLoose - The City, Steve Lacy - Apollo XXI, Striking Matches - Morning EP, Styles P - S.P. The Goat: Ghost of All Time, Sufjan Stevens - Love Yourself / With My Whole Heart EP, Tank and the Bangas - Green Balloon, Taylor Bennett - The American Reject EP, Wu-Tang Clan - Of Mics and Men EP, Yeek - IDK WHERE, YG - 4REAL 4REAL

[katebutlerwrites]

Liminal Spaces

On vernacular architecture and the sculptures of Stanley Rosen, on whom I would later write my master’s thesis - Fall 2017 

One weekend while I was living in southern France, I joined my art school on a field trip to study the bories - ancient stone huts once used as agricultural storehouses, weathered across centuries by the Mediterranean sun. We found one nestled in a forest teeming with dry stems, bordered on one end by a stone wall that opened in the path of an entrance. The center of the hut, a dome constructed by limestones sourced from the earth we stood on, was accessed by way of a bended passageway. Light diffused through cracks. Chatter yielded to silence.  

The circular wall around us - in fact the whole structure - was continuous with the ceiling: a perfect dome of rocks balanced concentrically without mortar. For those of us who grew up within walls whose supports were hidden beneath plaster and paint, it seemed there was nothing to prevent the circular opening at top from collapsing. 

Yet it was this very precariousness that impressed me with a sense of the structure’s integrity. The vaulted ceiling stood completely by the weight of one stone on another, the precision of which lent the walls a lightness more indicative of strength than of frailty. There was an urgency to this construction: to shelter, to safeguard and to store. Yet to us the space lacked any function but as the subject of our observation. Our sense of its poetry was heightened. Dream associations surfaced; its sheltering became symbolic. So did the context in which it dwelled. A beehive of time-weathered stones, the borie offered a point of reference for the fluctuating light and the undulating wind; emphasizing their instantaneity while bringing to mind the thousands of years past through which it had. 

The hours that followed were infused with a profound feeling, akin to something I might feel after encountering a great work of art. Vernacular structures can be particularly moving because of the distinctness of their expression, evidencing the specific environment and needs of a culture of people. The more idiosyncratic, the more they convey that beyond their functionality, architectural spaces have the power to inhabit our imagination even as we inhabit them. Gaston Bachelard notably explored their poetic typology in “Poetics of Space” - describing such spaces as the wardrobe (“a model of intimacy”) as well as the basement, the nest and shells. Describing the phenomenon of “roundness,” he reflects, “sometimes we find ourselves in the presence of a form that guides and encloses our earliest dreams” (239). Bachelard uses the word “enclose” both to mean a concentration of concrete space and the concentration of thought. 

“A form that guides and encloses our earliest dreams” might describe the borie. Yet even more so does Bachelard’s internalizing of space shed light on the ceramic sculptures of Stanley Rosen - primal, kinetic, shadow-inflected objects that I first encountered at Steven Harvey Fine Arts Projects (SHFAP) in October. Rosen’s work could, not unfairly, be situated in the context of mid-century abstraction or experiments with clay à la Peter Voulkos. But his work might be more profoundly considered in relationship to vernacular architecture - the type of building rooted in human needs and rituals, attuned to the affordances not just of the material but of the earth and the wind, of water and sunlight or as the case may be, fire.  

The obvious difference is in size. Rosen’s sculptures recall an amalgam of architectural motifs - huts, boats and temples, antechambers and entrances - but in a small scale that locates them in proportion to the searching hands of the artist. Because they can’t be inhabited, they invite the mind’s eye to feel through them. To encounter these spaces as symbols. Constructed of raw, earthen clay bodies, Rosen’s sculptures internalize that sort of timeless, intuitive construction that I was so compelled by in the borie in forms that are at once idiosyncratic and original.

Throughout the works at SFAP, textured outer surfaces that yield to inner depths. A monumental goblet opens to an inner space of thin ridges like roof tiles in reverse, lined and woven to the bottom. Stare into the outer wall of one of his towering jugs and you might be struck by the little doorways in or the shadows between the base and the roof. At one level, they are riffing of a necessity of the medium of clay, which must be hollow in order to be fired. Inasmuch as ceramics is defined by containment, it is defined by its openings through which the passage of hot air will turn the objects rock solid. A few pieces, as grids and bushels of thin narrow clay rolls ask us to consider the mystery of their material density.

Their architecture, in part, concerns the ceremony of their openings: as when the mouth of that monumental goblet blooms from a base one third its size. Often they assume the form of an antechamber or vestibule - the entrance or channel between the outer wall and interior. Two cylindrical vessels, dark brown in color, take in air through slits and incisions in their sides. In one, narrow slaps of clay creep up from the rigged surface of a cup into the support of a cube; its surface decorated grid of square incisions that open into its hollow. The darkest, widest hollows occur on the sides, in the spaces between the slabs from the base and the top into which they rise. In a departure from the usual allowances of a vessel, the top is covered, with that same patchwork of varying depths. The result is a surface that betrays a mysterious, shadowy interior, while denying the viewer full access to the interior life the form claims to be protecting. 

Other, flat suggest portals into unseen depths. In one, folds of clay, each bent subtly, are inserted into a grid of vertical lines resembling the top of a paper file. Its shadows seem to preface greater depths below its rough, earthen surface. In another, erect, oblong clay folds create shadowy portals to the other side. Above their heads lays a texture of grass-like rolls of clay on either side of a small crocodile, half submerged in the material. Beside it a flat, circular form - something like an upside-down plate - is hollowed in the middle, opened to the white of the table, with a shadowy inch or two looming around the opening’s edge. The structure is simple; its rough, brown clay is unglazed. Because of, not in spite of this, the piece evokes the invisible space of sky above and the depths of the earth below.  

[architectnews]

Sacred Heart Preparatory, Academic and Arts Building

Sacred Heart Preparatory Academic and Arts Building, Atherton School, San Mateo County, Californian Architecture Photos

Sacred Heart Academic and Arts Building, Atherton, CA

August 6, 2021

Architects: WRNS Studio

Location: Atherton, San Mateo County, California, USA

Photos by Bruce Damonte

Sacred Heart William V. Campbell Academic and Arts Center

Project Narrative

Established in 1898, the Sacred Heart Schools is a private Catholic school in Atherton, CA. The campus comprises the Lower School, Middle School and High School, which together serve approximately 1600 students grades pre-kindergarten through 12.

WRNS Studio’s work for Sacred Heart Schools began with the master plan and design of the school’s Pre-K through 8 campus that supports SHS’s mission to educate the whole child, to model social awareness, sustainability and community, and to foster interaction and cross-disciplinary learning. The Pre-K – 8 campus included four new buildings, including the award-winning Stevens Net Zero Library.

Most recently, WRNS Studio completed the new Academic and Arts Building, which serves as an interdisciplinary hub of activity housing career and counseling centers, a dance studio, maker spaces, quiet lounge, fine arts, ceramics, broadcast rooms, choral and band facilities, photography dark room, classrooms and administration spaces and a new a new energy-efficient multipurpose practice gym and events center. The building encourages cross-disciplinary collaboration with flexible design and massing that creates shared spaces for informal interaction, both inside and outside the classroom.

A series of multifunctional spaces—from learning studios on the second floor to makerspaces on the ground floor and common flexible spaces—provides opportunities for social engagement and mentorship. A full basement containing creative spaces including digital media and dark room, connects entire building. The heart of the school is the kitchen and dining space, which are used to teach students about nutrition. By bringing this diverse program under one roof, the building breaks down the barriers between sports, art, and tinkering, helping to foster a supportive, collaborative environment.

Natural light and indoor/ outdoor connections drove the design process. At-grade glass skylights at each entrance and skylights in large story spaces were used to reduce the need for artificial lighting. Open plans and transparent walls provide educational flexibility with visual connections to indoor and outdoor learning activities.

Pulling the classroom outside, adjacent to the band facilities is an amphitheater that flows into the landscape and doubles as an extension of the classroom as well as seating during team collaboration.

Landscape design helps support different types of learning experiences through the campus. Inside, the design team used natural material palette—brick, wood and metal–adding visual interest with details, such as a crinkled curtain in the dance studio, made of perforated aluminum skin.

Located between an existing sports field and a building containing classrooms, a lecture hall, and a cafeteria, the 11,800 square-foot practice gym was designed to be a flexible space that can easily transform to accommodate sports and events — from non-competition volleyball games to fashion shows and circus acts. Large glass “garage” doors open up on both sides of the building, creating a permeable indoor/outdoor space with a natural breezeway.

Sacred Heart Preparatory, Academic and Arts Building in California – Building Information

Architects: WRNS Studio Location: Atherton, CA, USA Size: 79,000 sq. ft.

Project team: Pauline Souza, Adam Woltag, Natalie Kittner, Emily Jones, Diana Ford

Sacred Heart William V. Campbell Academic and Arts Center, San Mateo County, California images / information received 060821

Photographs: Bruce Damonte

Location: Atherton, San Mateo County, California, United States of America

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Recent San Francisco Architecture Designs – selection below:

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333 Roebling Road Parking Structure

Forest House in Truckee, Nevada County

Power Station in Dogpatch

Memorial at Harvey Milk Plaza

Californian Building Designs

Contemporary Architecture in California

Jonas Salk Institute for Biological Studies, La Jolla Design: Louis Kahn Architect photo courtesy The Getty Conservation Institute (GCI) / Salk Institute for Biological Studies Salk Institute for Biological Studies Conservation

Sanford Consortium for Regenerative Medicine, La Jolla Design: Fentress Architects image : Jason A. Knowles © Fentress Architects Sanford Consortium for Regenerative Medicine, SCRM, La Jolla

San Francisco Houses

Californian Architects

American Architect – US architectural firm listings on e-architect

Comments / photos for the Sacred Heart William V. Campbell Academic and Arts Center in San Mateo County, California design by WRNS Studio Architects page welcome

The post Sacred Heart Preparatory, Academic and Arts Building appeared first on e-architect.

[geoffreystein]

If you are downtown, don't miss Susanna Coffey's terrific show at Steven Harvey Fine Art Projects (208 Forsyth St.) through June 30th.  . . . . #geoffreystein @susannacoffey #susannacoffey @stevenharveyfineartprojects  #stevenharveyfineartprojects #shfap #crimesofthegods #208forsythstreet  #painting #oilpainting #oil #portrait #selfportrait #head #figurative #figurativepainting #tbt  #woman #exhibition #studioartist #expression @ny_studioschool #nyss #studioschool  #NY_StudioSchool #newyorkcityart #theschooloftheartinstituteofchicago #saic

[jombig]

Daniel Kerr at #StevenHarvey 206 Forsyth, NYC. Vivid raw paintings. #danielherr #tomfitzdotart #bkamclay (at Steven Harvey Fine Art Projects) https://www.instagram.com/p/CNAT5a4F-ZB/?igshid=1g91namyp86t0

[longlistshort]

“Valentine”, 2022, oil on linen

(“Braid”, 2022, oil on linen and detail shot)

The two colorful paintings above are from Andrea Belag’s 2023 solo exhibition, Currents, at Bienvenu Steinberg & J in New York.

From the gallery’s press release-

Since the 1990s, Belag has constantly modified her approach to abstraction through various transitions and mutations. Her internal genealogy matters as much as her relationship to a tradition of abstraction. In the words of artist and critic Julian Kreimer: “it’s not hard to metaphorize those traces, lines left behind by larger swaths of paint that were wiped away, lines whose own shifting colors reveal how they are made by what they’ve touched and changed. But as with so many of Belag’s paintings, the point isn’t to nail down the metaphors (…) Belag’s work becomes an edge condition for painting without flirting with minimalist near-nothingness; it tests out where beauty can emerge, and what we can get to work. It opens up from a few wiped shapes into a sophisticated object able to transport one into a reverie about slippage, slipping away, the here and not hereness of life, death, and the varieties of love”.

Geometry and order have progressively given place to swirling swaths of color, solidity replaced by suspended motion. Painting is an all consuming action. She paints standing up, leaning over and often walking around the canvas placed horizontally. It starts with the arm and as she walks around the canvas her whole body gets involved. Transparent colors on the surface are not fixed and can create form or dissolve into light. She rubs, smudges, and scraps to create translucent, softly luminous surfaces where the brushwork is strikingly visible. “My paintings are contemporary because I paint in the here and now. It’s unavoidable. The artists I feel indebted to are Henri Matisse, Mary Heilmann, Joan Mitchell, Gerhard Richter, Bill Traylor, and Japanese Zen gardens. Style is a dead-end, but I have a point of view. I love transparency and the touch of materials, so I have created a way of painting where I make this possible. I use mostly transparent pigments and fine linen, and I paint wet into wet. The marks are on one layer of the painted surface with very little overlap or pentimento. Color makes space and light come through the paint and emotion comes through as well. There is fear and desire in painting, and that’s addictive. Haptics are the touchstones.” (Andrea Belag, 2023)

Her current solo exhibition, Twombly’s Green, opened this week at Steven Harvey Fine Art Projects.

From their press release-

This grouping of work is, as the title suggests, inspired by Belag’s recollection of Cy Twombly’s use of the color Hooker’s green in his “Pond Paintings.” She writes-

These paintings are inspired by my memory of Twombly’s green and white paintings that I first saw in the Menil Collection in Houston in 2015. I was stunned by his paint handling and his use of Hooker’s Green. Since then, I learned he painted quickly and directly with his hands. Discovering the “Pond Paintings” was unexpected and I kept thinking about them. Hooker’s green is opaque and dark. But the dark value doesn’t overwhelm the hue. Instead, there is richness and depth without a trace of yellow. When I identified the pigment and started to paint with it, I felt a vibration. There was a time when painting with green was taboo and now it is ubiquitous. Is green in the zeitgeist?

All painted within the last twelve months, these works are a continuation of the artist’s practice of lush, energetic abstraction. Playing with circularity in an ongoing attempt to “get away from the grid,” Belag uses color as forms in space, bodies set in motion. Citing foundational inspirations in Matisse and Guston, who she later studied with at the New York Studio School, Belag’s work can also be related to vanguard practitioners of 80s abstraction such as Bill Jensen, David Reed and Mary Heilmann. Her immediate peers Christopher Wool and Joyce Pensato are also compass points in the stripped down dedication to raw painterly brio they share.

This exhibition is on view until 4/13/24.

[ihavealwayslivedinthecastle]

Paul Resika paired with Jack Goldstein, among others, at Steven Harvey Fine Arts Projects. https://www.instagram.com/p/CAlZAIzl4NX/?igshid=1owzr444i0q17

[ownerzero]

A Not Completely Lost History

Bob Thompson, “Bacchanal” (1960), oil on panel (all images courtesy of Steven Harvey Fine Art Projects) In 1952, Tibor de Nagy gave Fairfield Porter his first solo exhibition, at the urging of Willem De Kooning, along with Jane Freilicher and Larry Rivers. Porter was in his mid-40s at the time. Shortly after Earl Kerkam died […]

The post A Not Completely Lost History appeared first on AWorkstation.com.

source https://aworkstation.com/a-not-completely-lost-history/

[newyorkarttours]

Susan Lichtman at Steven Harvey Fine Art Projects

The canvas barely manages to contain an angled view of a screened window by painter Susan Lichtman, reflecting an outdoor scene from her Massachusetts home. With one window panel opening toward viewers, the painting appears to project itself into Steven Harvey Fine Art Project’s narrow gallery space, an arresting and dynamic move that belies an apparently tranquil domestic scene. (On the Lower East Side through July 15th). Susan Lichtman, Cookout, oil on linen, 64 x 58 inches, 2016.

[catherine-white]

There is a tactility and a sensuality to Rosen’s sculpture that feels primordial. At the same time, there is nothing seductive, charming, or witty about any of the works, which makes them even greater.

https://hyperallergic.com/413065/stanley-rosen-beginnings-steven-harvey-fine-art-projects-2017/

(Stanley Rosen, “Untitled” (1960s), stoneware clay, 11 x 10 x 10 inches, photo: Peter Crabtree