Featuring:
Jack Davidson
Karin Davie
Mary Heilmann
Robert Levine
Laura Owens
Karen Schifano
Monique van Genderen
Curated by Rory Devine
Reception for the artists: Sunday, February 9, 2014, 5 – 7 p.m.
CB1 Gallery is pleased to present Capture the Rapture, a group painting show curated by gallery artist Rory Devine. With this exhibition, Devine has chosen seven artists whose work he greatly admires, bringing them together to explore different aspects of abstraction. The artists in the exhibit...
Featuring:
Jack Davidson
Karin Davie
Mary Heilmann
Robert Levine
Laura Owens
Karen Schifano
Monique van Genderen
Curated by Rory Devine
Reception for the artists: Sunday, February 9, 2014, 5 – 7 p.m.
CB1 Gallery is pleased to present Capture the Rapture, a group painting show curated by gallery artist Rory Devine. With this exhibition, Devine has chosen seven artists whose work he greatly admires, bringing them together to explore different aspects of abstraction. The artists in the exhibition are: Mary Heilmann, Jack Davidson, Karin Davie, Karen Schifano, Laura Owens, Monique van Genderen, and Robert Levine.
Each artist approaches abstraction with a highly personal lens. And yet, there is a common thread that weaves through all of the work: the rapturous reading of the paintings. From Heilmann’s and Davidson’s personal and quirky approaches, to Davie’s sculptural swirls, Schifano’s reductive vocabulary, Owens’ and van Genderen’s investigations of space, and, finally, Levine’s sentimentally wise paintings, the work in this exhibit addresses ideas of pleasure for both the artist making the work and viewer beholding it.
Indeed, the artists – all of whom have been making paintings for over 20 years – have each developed their own language of seduction, through which we, the viewers, are drawn-in and seduced by their paintings. In Capture the Rapture, Devine invites viewers to enjoy this seduction.
All of the artists in the show make work that can operate outside of the rarified world of art speak. Their immediacy is palpable. The paintings suggest a type of pleasure dome, existing for the viewer to project their thoughts on abstractions.