Lisa N. Peters
In a review in the New York Times (Friday, July 16) of the exhibition Spray!–featuring eleven works spanning four decades of aerosol painting–the noted critic Roberta Smith paid tribute to Dan Christensen, writing
Dan Christensen, "Pavo," 1968, acrylic on canvas, 108 x 132 inches
. . . Dan Christensen, who died in 2007, provides what must be one of [the exhibition’s] landmarks. His “Pavo” from 1968 is the result of spraying giant off-kilter circles in several candy colors on a very large canvas. This loopy tangle—seemingly pressured by the painting’s edges—resembles a stop-action image of several Hula-Hoops on the loose or the track of a spinning top seen from above. It confirms the ease and flair with which Mr. Christensen, who was something of an art star in the 1960s, assimilated Process Art into painting. Its Beach Boys brilliance would hold its own among works by Jackson Pollock or Sigmar Polke, to name but two.
Dan Christensen, "Serpens," 1968, acrylic on canvas, 112 x 173 1/2 inches
Christensen’s monumentally scaled Serpens, also from 1968 fits this description as well. This painting is included in our current exhibition at Spanierman Modern, on view until August 7, 2010.
View other works by Christensen
Jasmina Danowski Exhibition, Westfield State College, Massachusetts
Danowski Exhibition Reception, Westfield State College, Massachusetts
Lisa N. Peters
“We are bringing New York City to Westfield with this exhibit,” stated curator Faith A. Lund in an article in the Springfield Republican on the exhibition, Jasmina Danowski, North, South, East and West of the Pecos (July 10-September 15), organized in cooperation with Spanierman Gallery, that marks the reopening of the Downtown Art Gallery at Westfield State College, Massachusetts. The very large abstract works in home-made ink and gesso on paper and oil and allkyd on panel and canvas are an ideal complement to the just renovated, high-ceilinged space. Continue reading
Carl Holty, "Pink Lady," 1948, oil on masonite, 18 x 14 inches
Scholarship on the American modernist tradition tends to focus on artists working in New York, Philadelphia and Paris during the early 1900s. However, Against the Grain: Modernism in the Midwest––a landmark exhibition currently on view at the Massillon Museum in Ohio––proves that the trend toward experimentation and advanced aesthetic thinking was actually much broader, permeating the vision of many artists with links to the Midwest.
As Christine Fowler Shearer, curator of the exhibition, states in the foreword to the catalogue, the Massillon Museum “often takes the risk to tackle subjects, uncover artists, and provide new insights into topics that are often overlooked.” With this in mind, she has assembled approximately 70 paintings by Midwestern artists––among them Ivan Albright, Thomas Hart Benton, Charles Burchfield, Alice Schille and William Zorach––who abandoned traditional styles such as Impressionism and Realism in favor of progressive strategies relative to form and color. The show features loans from private and public collections, as well as three works from Spanierman Gallery’s current inventory of paintings: Pink Lady and Europa, by Carl Holty (1900-1973), and Mountain Landscape, by William S. Schwartz (1896-1977). Continue reading