Upcoming

 

Now represented by Fox Jensen, Sydney and Fox Jensen McCrory, Auckland!

-Fall 2019:

Two person show with Pia Fries at Gallery Anita Beckers, Frankfurt, Germany. 

B.A.T. State III: Women Artists in Conversation with El Nopal Press at the California State University Long Beach Museum. 

-January 2020: Rauschenberg Residency in Captiva

-Spring 2020: Solo show at PATRON Gallery in Chicago, and solo show at Fox Jensen Gallery in Sydney. 

 

 

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This month at Fox Jensen McCrory Gallery

FEBRUARY – WET WET WET – AUCKLAND

“people will never understand what we are doing if they can’t feel. All art is abstract. All music is abstract.
But it’s all real…We are all trying to bring spirit, that spontaneous energy, into our work” Joan Mitchell

The overdue recalibration of Abstract Expressionism’s (his)tory to attend to the legacy of major painters such as Lee Krasner, Elaine de Kooning, Helen Frankenthaler and Joan Mitchell is the focus of Mary Gabriel’s timely (tardy actually) book Ninth Street Women, where she describes the social and political context that allowed for…even encouraged their marginalisation.

More recently, artists such as Jacqueline Humphries and Julie Mehretu have not only continued this redress in the most potent fashion, but have been joined by painters like Erin Lawlor (UK), Aida Tomescu (AUS) and Liat Yossifor (USA) – each of whom feel indispensable to this ongoing reconstitution of abstract painting in the hands of powerful women artists – artists through whose work we can clearly perceive a future for painting.

With distance and time there is a new freedom and clarity about the act of painting itself that the mercenary, Greenbergian notion of material and gesture, refused to engage. The performative conditions of painting and its relationship to the body that are apparent in the work of these painters, feels more related to the performances of Carolee Schneemann than to those of Jackson Pollock.

The conflation of a physical and temporal event, one bookended by preparation and reflection alludes to a deeper proposition, where gesture, material and duration are woven into a new fabric of time, and whose multiple components endlessly seek reconciliation.

Both Yossifor and Lawlor offer the viewer multiple entry points from which to navigate their “alla prima” performances. Lawlor’s looping brushwork leads us into a sublime and certain entanglement of colour and insinuated form from which we are reluctant to leave. Yossifor’s weave is somewhat grittier and heavier as her Ariadnean thread is physically etched into the viscous surface in a collage of asphalt turnpikes and tributaries seemingly without exit.

Lawlor’s use of colour and its relentless union and dialysis in the wake of each brushstroke, is fundamental to the emotional and intellectual persuasion that Lawlor’s paintings have. Colour is altogether a different proposition in Yossifor’s work. Individual colour is subordinate or rather gives way to its greater communal responsibility. Whilst traces of pure colour might be glimpsed in the shards and separations that can occur in the surface, these colours relinquish their individuality to establish a body of colour that is greater than the sum of its parts. There is defiance in this approach, a kind of negation and erasure that fascinates me in a melancholy way. However, as we sat and talked with Liat in her Los Angeles studio recently, the paintings quietly revealed traces of their chromatic constituency in the soft light. As the sunrays fell across the surface, their progress broken against the rifts and fissures in the paint, a new topography was revealed that was bleak and beautiful in equal measure…and there was a chromatic atmosphere around each work. Somehow in its apparent absence the idea of colour was present in a new way.

The resistance that painting represents as an act, was doubly so for a woman, Gabriel suggests and yet despite six decades between Lee Krasner and now, the challenge persists. “Resistance” is a word that I come up against time and again in looking at Tomescu’s work. There is evidence of toil and contest a plenty. Paint doesn’t just oblige – it holds and resists, it bends to her gesture but doesn’t cede to it. This counteraction is a fundamental aspect of Tomescu’s work and its power. In fact, there is something about the works’ intensity and visceral nature that suggests it always remains in contention…still wet.

There is a poignancy too in Tomescu’s colour. I sense she chooses pigment because it is capable of carrying the potency that her work corrals – or colour in fact chooses her because she is capable of the force that won’t squander or misuse it.

Each of these artists approach abstraction fuelled by poetry, spirit and energy. Perhaps they are contemporary symbolists resuscitating painting after the aridity of “process” painting and reinvesting it with bearing and purpose.

Fox Jensen McCrory is delighted to be able to present the paintings of three magnificent artists, Erin Lawlor, Liat Yossifor and Aida Tomescu. Wet Wet Wet will run from February 14th – March 23rd.

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group shows

Closing 2018 with two group shows:

One Moment in Time – Part III, Galerie Anita Beckers, Frankfurt, Germany
New Suns, Paramo Gallery, Guadalajara, Mexico
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Páramo Gallery weekend Mexico city, and Prima Materia at LACASAPARK Artist Residency

solo project:

Páramo Gallery, Gallery Weekend in Mexico City

Liat Yossifor

So, like a forgotten fire

Sept. 20 – 23, 2018

Praga 35, Colonia Juarez Mexico City, Mexico

Guadalajara, Mexico—Páramo is pleased to present So, like a forgotten fire—an exhibition of new works by Israeli-born, Los Angeles-based artist Liat Yossifor. Presented on the occasion of Mexico City Gallery Weekend 2018, and staged in an apartment in the city’s historic Roma neighborhood, the exhibition marks Yossifor’s first solo presentation in Mexico City.

For nearly a decade, Yossifor’s works have been sited within histories of abstraction. Her complex and densely textured works, produced through a physically demanding and time-restricted process, are at first glance amalgamations of gestures that echo the conditions of action painting. They are more so however, unique forms in their own right—intentional compositions that straddle genres while rigorously mining the formal dimensions of the painting medium and the conceptual concerns of figuration and performativity. Trained at UC Irvine at the height of the culture war debates, Yossifor’s practice has been deeply invested in the material tensions that emerge at the intersection of abstraction and representation. Her early work, often depicting human subjects and narrative scenes that aligned with traditions of history painting, evolved into sophisticated investigations of the representational potential of the language of abstraction.

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Group show:

Off-site Exhibition

Prima Materia September 22nd – October 26th

Curated by Viridiana Mayagoitia

Organized by PEANA and Adrián S. Bará at LACASAPARK Artist Residency

PEANA

Owen Armour

Peter Brock

Adrián S. Bará

Juliana Cerqueira Leite

Tomás Díaz Cedeño

Faivovich & Goldberg

Andrea Galvani

Alison Kudlow

Gonzalo Lebrija

Pedro Martínez-Negrete

Ana Montiel

Mario Navarro

Diego Orendain

Barb Smith

Bosco Sodi

Ernesto Solana

Tove Storch

Casey Tang

Tezontle

Liat Yossifor

 

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Included in Modulaciones, Pintura 1898-2016

The show “Modulaciones, Pintura 1898-2016” is traveling now to the Museo de Arte de Zapopan!

The exhibition is divided into eight thematic nuclei: portrait and figure; spatial dislocations; scenes and scenarios; integration of the object; monochrome and language;landscape; Abstraction and finally painting and matter.

Julio Ruelas, Adolfo Best Maugard, José Clemente Orozco, Francisco Toledo, Germán Venegas, Gabriel Orozco, Lucio Fontana, Neo Rauch, Robert Rauschenberg, Beatriz Milhaxes, Sigmar Polke, David Salle, among others.

Enable images to view Inauguración Modulaciones

 

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Exhibition at Miles McEnery Gallery, New York, NY.

Catalog now available for my show at Miles McEnery Gallery, New York, NY, 2018

 

Show just opened on March 17!

NEW YORK, NEW YORK – MILES McENERY GALLERY is pleased to announce an exhibition of recent paintings by Liat Yossifor. The exhibition will open 17 March and will remain on view through 14 April 2018.

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Group exhibition at Miles McEnery Gallery, New York, NY

BELIEF IN GIANTS

17 February – 10 March 2018

 

 

 

Upcoming solo exhibition at Miles McEnery Gallery, New York, NY

LIAT YOSSIFOR

Nothing is Grey

17 March – 14 April 2018

 

 

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2016

 

2016. Hardcover. 88 pages with 32 illustrations.
With essays by Karen Lang, Christopher Michno, Stella Rollig and Ed Schad
$35 | 9780983254072 | U.S. and Canada

Liat Yossifor’s first artist monograph focuses on a series of ever-evolving grey paintings she produced from 2011-2016. Employing a time-based process to create these works, she continuously scrapes, sculpts, and re-works the paint until it hardens on the surface. Of the works here, Yossifor has said, “The grey is so much more for me. The grey is the result of color being consumed, of constant editing. The grey is the result of a thousand paintings that got destroyed in the process of making a single one.” Yossifor was recently profiled by Modern Painters as an artist to watch for 2016 and this year has exhibitions in New York; Frankfurt, Germany; Guadalajara and Chicago. The book includes essays by Karen Lang, Christopher Michno, Stella Rollig and Ed Schad and was designed by award-winning Vienna-based graphic artist Peter Duniecki.

 

exhibitions:

2016
A Body of Water, PATRON, Chicago, IL
The Stand, Paramo Gallery, Guadalajara, Mexico
Small Works, Ameringer McEnery Yohe, New York, NY
Double Life, Anita Beckers Gallery, Frankfurt, Germany

 

Installation view from The Stand, Paramo Gallery, Guadalajara, Mexico

 

 

 

 

 

 

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2015

Exhibitions:
2015
Pre-Verbal Painting, The Contemporary Art Museum St. Louis, MO
Pitzer College Art Galleries, Pitzer College, Claremont, CA
Eight Movements, Ameringer | McEnery | Yohe Gallery, New York, NY
Expanding on an expansive subject, The Armory Center for the Arts, Pasadena, CA

Installation views from Pre-Verbal Painting, The Contemporary Art Museum St. Louis, MO

Installation view from Time turning Paint, Pitzer College Art Galleries, Pitzer College, Claremont, CA

Installation view from Eight Movements, Ameringer | McEnery | Yohe Gallery, New York, NY

 

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