Dan Christensen, Acclamation in the New York Times

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

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

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

New York Times Reviews Betty Parsons Exhibition

Betty Parsons - Journey, 1975

Betty Parsons, "Journey," 1975, acrylic on canvas, 67-1/2 x 53-3/4 in.

Today’s New York Times (Friday, March 12, 2010) includes a review of JOURNEYS: The Art of Betty Parsons, on view at Spanierman Modern. Written by Roberta Smith, it captures the spirit of Parsons’s art and highlights her often overlooked paintings and their place in the history of postwar American art. Well deserved!

New York Times

March 12, 2010
Art in Review

‘The Art of Betty Parsons’
Spanierman Modern
53 East 58th Street
Through March 20

Betty Parsons (1900-1982) has a place in the history of postwar American painting as a facilitator. She opened her gallery in 1946 and within a few years had ushered or helped usher into public view the paintings of Ad Reinhardt, Clyfford Still, Mark Rothko, Jackson Pollock, Barnett Newman and Richard Pousette-Dart. She would later show Ellsworth Kelly, Jack Youngerman, Paul Feeley, Agnes Martin and Richard Tuttle.  Continue reading