November 18th – January 13th, 2017
An exhibition curated by Rob Zeller and Casey Gleghorn
Based on The Figurative Artist’s Handbook
Booth Gallery 325 W. 38th St. New York, NY 10018
Chie Shimizu, Untitled, plaster and colored pigments
The New Baroque was inspired by the artist and Co-Curator Rob Zeller’s new book on the exciting resurgence of the Figure in art, The Figurative Artist’s Handbook. Much like the Baroque period, the diverse array of artists in this exhibition speak to contemporary political, personal and formal artistic concerns using a common, figurative language in uniquely personal styles. While the book was used as a starting point, Zeller and Booth Gallery Director Casey Gleghorn have moved beyond the scope of the printed text. They have added some artists not included in the original printing, both painters and sculptors, to reflect a broader spectrum of new and exciting voices in the figurative movement.
The original Baroque, an effort largely financed by the Catholic Church as a reaction to the Protestant Reformation, favored the “Blockbuster”, large scale dramatic paintings of Biblical scenes that illustrated how this material world interacted with the Divine, the spiritual. Entirely secular in nature and more personal in scale, this exhibition also features artists who dig deeper than the mere appearance of things, the first level of realism. They are asking bigger questions of personal and metaphysical concerns, using the figure and its environment as a foil to explore the nature of existence.
While this show offers up a diverse array of 22 contemporary figurative artists, it is richly steeped in a dialogue with artists of the past. Because figurative art has been in existence prior to the Egyptians, there is a deep well of experience for contemporary artists to draw upon. In Alex Kanevsky’s two drawings in the show, The Most Sinister Model and T.S we see figures drawn with a kinetic rhythm of staccato movements. In his method, Kanevsky leaves behind both the evidence of a grid and the ghost contours of the model’s previous positions. It is as if we are watching their movements through time-lapse photography. Kanevsky’s intent is not to capture specificity, but rather to capture movement. Eschewing the use of value to create form, his rhythmic line quality is reminiscent of Giacometti’s and that artist’s efforts to both place the figure in space and reveal our relationship to it.
Alex Kanevsky, The Most Sinister Model, 2017, graphite on paper, 30”x22”
Christian Johnson’s highly original wall-mounted, cut out drawing features a sensual, curvaceous contour that at first call to mind the Viennese Fin de siècle of Gustve Klimt and Egon Scheile, but the muted grey tonalities of his modelling is more closely evocative of Jasper John’s cool, intellectual Modernism. Johnson concerns are of a formal nature, but the space between us and the beautiful pose of the model is quite intimate. He draws feminine beauty distilled to its essence.
Christian Johnson, Untitled, roughly 4 x 5ft.
Few artists working today are as Neoclassical in their understanding of form as Camie Salaz. Her working method is entirely rooted in the French Academic system of the late 19th century. In Narcissus, a story alternately of vanity and self-loathing, Salaz shows a terrible moment of anguish as Narcissus struggles to tear himself away from his own reflection, yet he is gripped tightly by it and cannot escape. Cleverly, we cannot see the reflection, but only a single, powerful arm as it pulls him down to certain death. As dramatic as the mythology of Ovid it draws upon, Salaz’s Narcissus feels surprisingly contemporary in its use of violence.
Camie Salaz, Narcissus, oil on linen, 30 x 40 inches (76.2 x 101.6 cm)
Steven Assael, Bo Bartlett, Aleah Chapin, Carl Dobsky, Randall Exon, Zoey Frank, Alex Kanevsky, David Kassan, Kurt Kauper, Evan Kitson, Maria Kreyn, Brad Kunkle, Christian Johnson, Adam Miller, Matthew Miller, Alyssa Monks, Odd Nerdrum, Ashley Oubre, Camie Salaz, Chie Shimizu, Nicola Verlato and Rob Zeller