Take Up Space presents abstraction as it travels across floors, hangs on walls, and is suspended above stairwells. Abstraction runs throughout this space, exploring and becoming territory. The works – mostly paintings – are results of artists’ projects that consider the relevance and power of abstraction’s possibilities.
The works in these galleries respond: to architecture, to history, to color, to taste, to edges, to time, and to our sociopolitical climate. They are explorations of form. They require us to notice their experimentation. They charge us to take the color, shapes, and scale of their structures into account.
Artists include: Sarah Cain, Johnny Abrahams, Lita Albuquerque, Zachary Armstrong, Sarah Crowner, Tomory Dodge, Tomashi Jackson, Pamela Jorden, Odili Donald Odita, and Jackie Saccoccio.
Supported in part by a grant from the Greater Columbus Arts Council and the Ohio Arts Council.
September 8 - January 29, 2019
11 April – 19 May 2018, Victoria Miro, Wharf Road, London N1 7RW
11 April – 16 June 2018, Victoria Miro Mayfair, 14 St George Street, London W1S 1FE
Taking place across Victoria Miro’s London galleries, this international, cross-generational exhibition is a celebration of women artists who have shaped and transformed, and continue to influence and expand, the language and definition of abstract painting.
More than 50 artists from North and South America, Europe, the Middle East and Asia are represented. The earliest work, by the Russian Constructivist Liubov Popova, was completed in 1918. The most recent, by contemporary artists including Adriana Varejão, Svenja Deininger and Elizabeth Neel, have been made especially for the exhibition. A number of the artists in the exhibition were born in the final decades of the nineteenth century, while the youngest, Beirut-based Dala Nasser, was born in 1990. Work from every decade between 1918 and 2018 is featured.
Surface Work takes its title from a quote by the Abstract Expressionist painter Joan Mitchell,who said: ‘Abstract is not a style. I simply want to make a surface work.’ The exhibition reflects the ways in which women have been at the heart of abstract art’s development over the past century, from those who propelled the language of abstraction forward, often with little recognition, to those who have built upon the legacy of earlier generations, using abstraction to open new paths to optical, emotional, cultural, and even political expression. Historical and contemporary works shown in dialogue will create a series of conversations across the decades, touching on themes such as the monochrome, process, geometric abstraction, seriality and gesture.
On display will be an example of Yayoi Kusama’s iconic Infinity Net paintings – seriality as a form of self-obliteration and self-definition – and a painting by the late US artist Mildred Thompson, who often found inspiration in scientific theories and universal systems, and whose buzzing palette of yellows and reds and calligraphic brushstrokes evoke the invisible forces of magnetic energy. These are complemented by a painting from the 1970s by Alma Thomas who in 1972, at the age of eighty, was the first African-American woman to receive a solo exhibition at the Whitney Museum of American Art, New York. For Thomas, colour was a way ‘to concentrate on beauty and happiness, rather than on man’s inhumanity to man.’
Contemporary artists such as Adriana Varejão, Bharti Kher and Howardena Pindell employ complex surfaces to engage with equally complex narratives and histories. A new ‘cracked tile’ work by Brazilian artist Adriana Varejão evokes the traditions of Minimalism and monochrome painting while its ruptured surface speaks of a disquieting colonial legacy. A work by Bharti Kher comprises a richly-painted board on which intricate patterns of bindis have been applied. Howardena Pindell, whose first major survey is currently on view at MCA Chicago, explores texture, colour, structure and process to address intersecting issues such as racism, feminism, violence and exploitation. Works on display from the 1970s by the artist have the appearance of vast, pointillist fields that, in part, recall African cloth made from pounded fibres and natural dyes.
Works from the era of Abstract Expressionism counter the idea of gesturalism as being an innately masculine language to reveal how, equally, it has been employed to engage with female sensibility and experience – in, for example, the work of Joan Mitchell, Lee Krasner and Helen Frankenthaler. These celebrated artists will be shown alongside under-recognised figures of their time, such as Hedda Sterne. An active member of the New York School of painters, Sterne was also one of the artists known as the ‘Irascibles’, who protested against the Metropolitan Museum of Art’s policy on American painting of the 1940s and who was included in a now iconic photograph for Life magazine in 1951; Sterne, notably, is the only woman in the image. Better known as one of the leading gallerists of the twentieth century, showing artists such as Mark Rothko, Jackson Pollock and Barnett Newman, Betty Parsons (who showed Sterne at her gallery in 1943) was also an abstract painter and sculptor who maintained a rigorous artistic practice. Now finding a receptive new audience, Parsons’ work reveals a mastery of spontaneity and improvisation, along with a profound interest in ancient and ethnographic arts.
The natural successors to these pioneering figures are international contemporary practitioners who embrace abstraction in their continuing quest to engage with history and articulate experience. The idea of gesture – both virtuosic and intimate, suggestive of landscape, the body, or more internalised visions – unites richly allusive works by artists such as Fiona Rae, Ilse D’Hollander, Rita Ackermann, Jackie Saccoccio, Louise Fishman, Varda Caivano and Martha Jungwirth.
These allusions grow further still in work that expands upon the traditional definition of painting by engaging with walls, floors and architecture. Works by Lynda Benglis, Angela de la Cruz and Annie Morris,among others, occupy a productive, liminal space between painting and sculpture. Other artistsembrace ideas of chance, indeterminacy and temporality. Drawing upon the language of abstract expressionism as well as pagan history and folklore, British artist Jessica Warboys makes use of the sea and its actions upon mineral pigments in the creation of her large-scale work. Lebanese artist Dala Nasser employs unconventional materials such as liquid latex, brick pigment and dirt collected off the floor, on ‘grounds’ including tarpaulin and trauma blankets to create a body of work that, possessing an intricate physicality, speaks to the contemporary moment. Reframed and reinvigorated in new contexts, abstraction reveals itself to be as vital a force today as it was a century ago.
The exhibition includes: Rita Ackermann, Etel Adnan, Gillian Ayres, Sara Barker, Lynda Benglis, Suzanne Blank Redstone, Betty Blayton, Sandra Blow, Sarah Cain, Varda Caivano, Lygia Clark, Prunella Clough, Angela de la Cruz, Jay DeFeo, Svenja Deininger, Lucy Dodd, Louise Fishman, Helen Frankenthaler, Mary Heilmann, Ilse D’Hollander, Loie Hollowell, Tess Jaray, Martha Jungwirth, Bharti Kher, Lee Krasner, Yayoi Kusama, Joan Mitchell, Katy Moran, Annie Morris, Rebecca Morris, Victoria Morton, Elizabeth Murray, Dala Nasser, Elizabeth Neel, Tomie Ohtake, Betty Parsons, Howardena Pindell, Liubov Popova, Fiona Rae, Mary Ramsden, Dorothea Rockburne, Jackie Saccoccio, Mira Schendel, Yuko Shiraishi, Raphaela Simon, Pat Steir, Hedda Sterne, Alma Thomas, Mildred Thompson, Adriana Varejão, Paule Vézelay, Jessica Warboys and Mary Weatherford.
The American painter Jackie Saccoccio's show "Sharp Objects & Apocalypse Confetti" at the 11R gallery through April 30, includes the riotiously beautiful Portrait (Nabokov), 2017.
SHARP OBJECTS & APOCALYPSE CONFETTI
March 30 – April 30, 2017
Reception: Thursday, March 30, 6 - 8 PM
11R, 195 Chrystie Street, New York, NY 10002
MCA DNA : Riot Grrrls December
Sexism continues to pervade the art world; male artists still garner the highest prices for their work and are disproportionately represented in exhibitions. In a challenge to the boys’ club sensibility that has historically shaped abstract painting, the eight female painters featured in the exhibition, which is named after the feminist hardcore punk movement that began in the 1990s, achieve mastery, innovation, and chutzpah in their brash and exciting paintings—without seeking external validation.
In an effort to counteract inequality in the art world, the MCA consciously collects important work being made today regardless of its perceived value on the market. Riot Grrrls presents pioneering painters Mary Heilmann, Charline von Heyl, Judy Ledgerwood, and Joyce Pensato, as well as a younger generation of artists, including Molly Zuckerman-Hartung, Jackie Saccoccio and Amy Feldman.
MCA DNA: Riot Grrrls is part of an ongoing exhibition series featuring iconic works from the MCA's collection. This exhibition is organized by Michael Darling, James W. Alsdorf Chief Curator at the Museum of Contemporary Art Chicago.
The exhibition is presented in the Carol and Douglas Cohen Gallery and Stone Family Gallery, Ellen Stone Belic and Dr. Nenad Belic, Cynthia and Richard Raskin, Carole David Stone and James H. Stone on the museum’s fourth floor.
JACKIE SACCOCCIO: DEGREE OF TILT
September 9 – October 18 | 11R Eleven Rivington, 195 Chrystie Street, NY, NY 10002, Tel 212 982 1930
September 9 – October 23 | Van Doren Waxter, 23 East 73rd Street, NY, NY 10021, Tel 212 445 0444
New York Times
Published October 15, 2015 | Museum & Gallery Listings for Oct. 16-23
REVIEW: JACKIE SACCOCCIO: ‘DEGREE OF TILT’
By Roberta Smith
With sharp, inventive color combinations and a technique that involves more than you initially realize,
this artist belongs to a generation that is finding new ways to explore the convention of allover abstract painting. Alternately diaphanous and concrete, parts of her intricate compositions involveweaving together thin pours of paint while tilting the canvas at different angles. Hence the title of thisshow, which has an uptown component.
Together, Arcadia and New Art Dealers Alliance (NADA) have announced Jackie Saccoccio as the winner of the Artadia NADA award, a $4,000 cash prize in conjunction with the NADA New York art fair. Artadia, a national visual arts non-profit, seeks to introduce local artists to the international art world, and has conferred over $3 million to over 300 artists since the organization’s founding in 1999. With this award, Saccoccio has also secured lifetime Artadia Award program benefits, such as access to their New York residency program, participation in awardee exhibitions, and participation in Artadia projects at art fairs across the United States.
Saccoccio, whose work is represented in Eleven Rivington’s booth at NADA New York, was chosen by a curators Tom Eccles (executive director at Bard’s Center for Curatorial Studies) and Kelly Taxter (assistant curator at the Jewish Museum). The pair agreed that, “[even] coming from different directions, we were both struck by Jackie Saccoccio’s substantial, complex, and accomplished painting.”
Opens April 17, 2014
Solo exhibitions @11 Rivington Street and 195 Chrystie Street, New York, NY
Eleven Rivington is delighted to present Jackie Saccoccio’s fifteenth solo exhibition and her fourth with the gallery. The exhibition will feature new large-scale paintings and is on view at both gallery locations at 11 Rivington Street and at 195 Chrystie Street from April 17 – May 18. Saccoccio was recently featured in two museum exhibitions at the Nerman Museum of Contemporary Art, KS, organized by Bruce Hartman; and at Museo d’Arte Contemporanea, Villa Croce, Genoa, curated by Ilaria Bonacossa.
Saccoccio pushes her exploration of the concept of portraiture and the idea of presence in painting in this 2-venue exhibition. At the Rivington Street gallery, she applies this construct to the conception and installation of the works, presenting a contemporary portrait gallery with abstract masses installed high and cheek by jowl. At 195 Chrystie Street, three imposing pairs of profile-type pictures comprise the exhibition. In the four works titled Profile (Roy II, Convex), Profile (Roy II, Concave), Profile (GT Concave) and Profile (GT Convex), the captions refer to attributes of two seminal profile paintings, Chuck Close’s 1994 painting of Roy Lichtenstein and Ghirlandaio’s 1488 depiction of Giovanna Tornabuoni. The third pair offers depictions of characters from one of Ovid’s tragic couples, in Profile (Echo) and Profile (Narcissus). Writing in the catalogue introduction for the artist’s Villa Croce exhibition, Ilaria Giani states:
“Acting as metaphors of a complex discourse, the works resist any direct references to the subjects declared. Through layers of paint applied in an utterly abstract gestural style, which seem to cover instead of disclosing an image, the pictures record time, summing up the experience of looking, processing, and representing.”
Jackie Saccoccio was born 1963 in Providence, RI and currently lives and works in CT. The paintings in this exhibition were created in Rome, Italy in 2012-13 and in CT in 2014. Saccoccio’s recent solo exhibitions include Brand New Gallery, Milan and Corbett v. Dempsey, Chicago, IL. Group exhibitions include The American Academy in Rome, Italy; Addison Gallery of American Art, MA; RISD Museum of Art, RI; Harris Lieberman, NY; Greene Naftali, NY; and Barbara Gladstone Gallery, NY, among others. She is a recipient of the Rome Prize at The American Academy in Rome, a John Simon Guggenheim Foundation Grant, and a Fulbright Foundation Grant. Saccoccio received a BFA from the Rhode Island School of Design and an MFA from the School of the Art Institute of Chicago.
Opens January 18, 2014
Solo museum exhibition curated by Ilaria Bonacossa
January 16, 2014 – March 9, 2014
Press preview: January 16, h. 11.30 -13.00
Opening: January 16, h. 18.30
Genova Palazzo Ducale
Fondazione per la Cultura – Ufficio Stampa
telefono +39 010 5574012/4047/4826