Von Lintel Gallery is pleased to present an exhibition of new paintings by New York artist, Catherine Howe. Supreme Fiction is the artist's third solo show with the gallery.
The unrestrained brushwork in Howe’s anarchic paintings inject raw emotion into docile subject matter, like flowers in a vase. By using the historical idiom of still-life as the anchor, Howe mashes the heroics of action-painting with the humility of vanitas tableaux.
Rather than focus on intimate observation, Howe operates on memory and feeling to invest mutable mediums with immense physicality. Pushing buckets of clear gloss over titanium molding paste, nascent forms become visible only after a dusting of carborundum grit (traditionally used to smooth lithography stone) and a final sweep of a broom. A self-proclaimed materials fiend, Howe also experiments with mica interference pigment suspended in acrylic resin to lend a refractive, iridescence to the canvas ground.
While the works explode with movement and texture, Howe restricts herself with respect to color. A stark palette emphasizes the expressive, psychological gestures seemingly unleashed during manic creative outputs. Howe qualifies the entire process as one of alchemy. As Michéle C. Cone writes in a recent catalogue essay, “Maybe, Howe’s evocative paintings are not about still life per se, but about the naming of things transposed into paint, and the magical interaction between medium, memory and perception.”
Born in Western New York in 1959, Howe received an MFA from SUNY Buffalo in 1983. The many publications that have reviewed her work include Art in America, Artforum, Art Critical, The New York Times, The New Yorker, and the Los Angeles Times. Howe has exhibited throughout the United States and Europe for over twenty years, including shows at the Corcoran Gallery of Art in Washington, DC, MoMA PS 1 in New York, and the Albright-Knox Art Gallery in Buffalo.
The exhibition is accompanied by an illustrated brochure with an essay by David Ebony.
Von Lintel Gallery is pleased to present an exhibition of recent work by New York artist, Carolyn Marks Blackwood. On the Edge is the artist's first solo show with the gallery.
“Carolyn Marks Blackwood is a modern day artist for whom the Hudson River is also an unfailing muse. Consumed by her daily photographic study of the water over which her studio is perched—as well as the sky that hovers above it—Blackwood’s images are not the romantic vistas of her predecessors, but almost their opposite: focused close-ups that capture the river’s power through the drama of detail. Instead of coalescing several scenes into one, her photographs are a celebration of the variation a single geographic location can elicit through the constantly changing conditions of wind, light, day, night, temperature and tide.”
—Excerpt from the essay Elements of Place by Carol Diehl
Coaxing painterly expression from a documentary device, Blackwood’s photographs reframe segments of air, ice and water into vivid color fields, geometric abstractions and flattened motifs. By removing perspective and context, her unmodified images seize ephemeral moments within everyday occurrences and heighten them into foreign, unfamiliar pictures.
A screenwriter and producer, Blackwood is a principal partner of Magnolia Mae Films. Among the films produced by Magnolia Mae are The Duchess (2008), The Invisible Woman (2013) and Philomena (2013). Blackwood began exhibiting her photography in the last ten years.
The exhibition is accompanied by an illustrated brochure with an essay by Barbara Rose.