Eazel | Raymond Hendler: Raymond by Raymond (Paintings 1957-1967)
August 3, 2021 - Eazel
August 3, 2021 - The Georgia Museum of Art
August 2, 2021 - Shannon Lee for Artsy News
Last Wednesday, a mixed-media collage by the late Abstract Expressionist artist Grace Hartigan sold for $75,000 at a Christie’s online auction, achieving five times its high estimate and breaking the auction record for works on paper by the artist. Hartigan, who was lauded as “the most celebrated of the young American women painters” by Life magazine in 1958, has seen a steady surge in demand for her trailblazing work in recent years. This is partly due to a growing wave of market interest in female Abstract Expressionists from collectors looking to correct their omission from art history.
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Featured Work: Sundancer, 1988
July 30, 2021 - Andrew Travers for The Aspen Times
The annual contemporary art fair in the Aspen Ice Garden is back for an in-person experience Aug. 1-5. With a new owner and new producer, it’ll look different than it did pre-pandemic, when it was known as ArtAspen, but the new Intersect Aspen is still offering a curated selection of international galleries showing and selling postwar art and blue-chip artists.
The new Intersect Aspen is hosting 30 exhibitors from 26 cities, filling the ice rink with a sampling of works from some of the leading contemporary art galleries and also a glimpse of the insane heights of the pandemic’s commercial art market. Intersect Art and Design acquired ArtAspen in April 2020 and hosted a virtual version of the fair last summer.
The new version of the fair hits as the international art world descends on the resort for the Aspen Art Museum’s annual ArtCrush gala, which has its main events running Aug. 4-6, and as a bumper crop of leading multi-national galleries have opened seasonal pop-ups in Aspen.
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July 27, 2021 - Jacqueline Reynolds for the Aspen Daily News
Hoffman spoke heartily about the exhibitions that will be on view, especially when discussing TOTAH’s interesting presentation of Alex Sewell’s paintings in conversation with Saul Steinberg’s drawings to explore the concept of text through art, Berry Campbell Gallery’s group exhibition featuring underrepresented women artists of the Postwar movement and a monumental Clyfford Still oil painting, “PH-568, 1965,” which will be featured in Sélavy by Di Donna’s art and design exhibition.
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July 21, 2021 - Artsy
July 14, 2021 - New Orleans Museum of Art
These symbols [in Ida Kohlmeyer’s work] exist as a kind of pictographic code, inviting us to try to decipher their meaning, but always evading any clear reference or easy interpretation...Her work feels like a code that we are never quite meant to crack.”
—Katie A. Pfohl, Curator of Modern and Contemporary Art
This month, Ida Kohlmeyer’s painted aluminum sculpture Rebus 3D-89-3 returns to the Sydney and Walda Besthoff Sculpture Garden, newly refreshed from structural repairs and brandishing a brand new coat of paint. The expert restoration—undertaken by Kohlmeyer’s longtime fabricator G. Paul Lucas of Lucas Limited in Louisburg, Kansas—brings the work back to its intended brilliancy and allows us to appreciate the work of one of Louisiana’s most influential and enigmatic abstract artists anew.
Kohlmeyer, a native New Orleanian, is nationally recognized for her vibrant abstract paintings and sculptures, which are among the most vanguard works of modern art made in New Orleans during the twentieth century. She is best known for her signature “cluster” compositions: large painted canvases divided into loose grids filled with vibrantly colored abstract shapes and forms that are at once abstract, linguistic, and deeply personal.
These symbols—either gridded on canvas or presented as freestanding sculptures—exist as a kind of pictographic code, inviting us to try to decipher their meaning, but always evading any clear reference or easy interpretation. Often titling her sculptures Rebus, a term that refers to a type of puzzle or “picture riddle” in which words are represented by combinations of pictures and letters, her work feels like a code that we are never quite meant to crack.