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Joanna Pousette-Dart Untitled, 2019

Joanna Pousette-Dart
Untitled, 2019
Acrylic on canvas stretched over wood panels
67.5 x 101 inches.

Shirley Kaneda Obscure Clarity, 2017

Shirley Kaneda
Obscure Clarity, 2017
Acrylic on canvas
64 x 54 inches

Kevin Umaña How can I go forward, 2019

Kevin Umaña
How can I go forward, 2019
Glazed ceramic
12 x 9 inches

Carrie Moyer Zaftig, 2019

Carrie Moyer
Zaftig, 2019
Acrylic, graphite, glitter on canvas
66 x 78 inches

Amie Cunat Real Hero, 2019

Amie Cunat
Real Hero, 2019
Polyvinyl acrylic, flashe and gouache on canvas
60 x 48 inches

Valerie Jaudon Heart of the Matter, 2005

Valerie Jaudon
Heart of the Matter, 2005
Oil on canvas over panel
48 x 48 inches

Stanley Whitney Kongo, 2014

Stanley Whitney
Kongo, 2014
Oil on linen
60 x 60 inches

David Storey Mimic, 2019 

David Storey
Mimic, 2019 
Oil on canvas
38 x 45 inches

Paolo Arao Choral Quarrel, 2018

Paolo Arao
Choral Quarrel, 2018
Sewn cotton and canvas
45 x 36 inches

Samantha Bittman Untitled, 2019

Samantha Bittman
Untitled, 2019
Acrylic on hand-woven textile
30 x 24 inches

Odili Donald Odita

Odili Donald Odita
Stand, 2018
Acrylic on canvas
60 x 42 x 1 ¼ inches

Jonathan Lasker Spiritual Etiquette, 1991

Jonathan Lasker
Spiritual Etiquette, 1991
Oil on linen
72 x 54 inches

Brian O'Doherty Vaughan’s Circle, 2004

Brian O'Doherty
Vaughan’s Circle, 2004
liquitex on canvas
6 x 6 feet

Jack Youngerman Foil Blue II, 2018

Jack Youngerman
Foil Blue II, 2018
Acrylic on canvas
23 x 20 inches

Richard Kalina The Day Before Tomorrow 5, 2019

Richard Kalina
The Day Before Tomorrow 5, 2019
Oil on linen
50 3/4 x 42 inches

Federico Herrero Untitled, 2018

Federico Herrero
Untitled, 2018
Oil, acrylic on canvas
65 x 59 in.

Angela Heisch Spinner, 2019

Angela Heisch
Spinner, 2019
Oil on canvas over panel
8 x 12 inches
 

Harriet Korman Untitled, 2015

Harriet Korman
Untitled, 2015
Oil on canvas
40 x 52 inches

Press Release

Paolo Arao, Samantha Bittman, Amie Cunat, Angela Heisch, Federico Herrero, Shirley Jaffe, Valerie Jaudon, Shirley Kaneda, Harriet Korman, Jonathan Lasker, Carrie Moyer, Thomas Nozkowski, Odili Donald Odita, Brian O’Doherty, Joanna Pousette-Dart, Katia Santibañez, David Storey, Barbara Takenaga, Kevin Umaña, Stanley Whitney, Jack Youngerman

DC Moore Gallery is proud to present The Unusual Suspects: A View of Abstraction, curated by Richard Kalina, and featuring work by twenty-one artists. Opening Reception Thursday, June 13th, 6-8pm

Richard Kalina Statement:

The Unusual Suspects: A View of Abstraction examines some key elements of today’s abstract painting. While scarcely an atlas, it does provide a way to look at the current state of affairs. The typical 20th century process of movement formation stopped (especially for painting and doubly so for abstraction) in the late 1980s or at the latest, the early 1990s. Yet all the while, painting continued unabated. The art in this show, made by painters ranging in age from their 30s to their 90s, does not fit neatly into sets of fixed categories, but rather organizes itself around related points and orientations on the larger map of abstraction – in this case an interest in color, logical organization, careful facture, and indirect but compelling social and theoretical reference. In the convention-encompassed precincts of painting, the continually expanding body of work coming into the world will, by its nature, seek and find places to settle. In doing so, the accepted distance between points on the spectrum of style will be altered and new affinities and correspondences revealed. This creates an interconnected map rather than a logical flow chart, a shifting network rather than an Alfred Barr-like diagram of originality and influence. Such an ordering is not only non-hierarchical and non-linear, but in a metaphorical way, non-planar. It is like a loose grid inscribed on a sheet of paper, rendered three-dimensional as the paper is turned and twisted.

If there is no such thing as mainstream abstraction anymore, if the conceptual space between painters is a constantly shifting set of measurements, if criticism and theory in abstract art cannot be prescriptive, then how can we identify in the present moment, what is of real interest? The artists in this exhibition are often seen as “artists’ artists,” exemplars of thought-provoking conjunctions and approaches, aesthetic first responders. The purpose of this show is to illuminate a sector of the moving web of art, to present a group of painters who reflect the aesthetic light around them in unexpected and exciting ways. The paintings of women and men of different backgrounds and, importantly, of different ages, each with different goals and different means of attaining them, are being placed together so that every work of art will both stand on its own and be given meaning by the works around it. The paintings on display are fully formed and complex, as well as carefully and skillfully made. They represent what might be thought of as an Industrious Revolution. They are a synchronic snapshot of a significant portion of abstract art today, a still image of a moving map. In the lively and uncertain art world that we inhabit, and especially in the bounded, bracketed, but expanding zone of abstraction, the energy that we see here creates its own form.

Richard Kalina is a New York-based painter and critic and is a professor of art at Fordham University. He has written for Art in America, ARTnews, Hyperallergic, and The Brooklyn Rail, among other publications. He is the author of Imagining the Present: Context, Content, and the Role of the Critic, published by Routledge Press (2006).
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Abstract Painting: Wrong Questions, Right Answers?
Panel Discussion with Paolo Arao, Amie Cunat, Carrie Moyer, and Odili Donald Odita
Moderated by Richard Kalina

Thursday, June 20th at 6:30pm
RSVP to Sabeena Khosla at skhosla@dcmooregallery.com

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