TONY LEWIS – ENGINE INSIST ITSELF NOTHING SHORT ETC.

Posted on 2018-12-24

Tony Lewis’s practice centres on the relationship between semiotics, language and the universal, creating a narrative that shifts constantly between historical and autobiographical. Graphite pencil and paper are the mediums the artist uses to trace and create abstract narratives and reflections on the notion of the gestural, embodying the artists’ research for pure abstraction.
In Engine Insist Itself Nothing Short Etc. Tony Lewis will present a group of six large-scale, vibrant, drawings. The Gregg Shorthand graphite form is the primary form and linguistic tool for the drawing: the Gregg Shorthand is a form of stenography that was invented by John Robert Gregg in 1888, like cursive longhand, it is completely based on elliptical figures and lines that bisect them – it is the most popular form of pen stenography in the United States; still in use today albeit less popular due to digitalization.

Opposite – Itself, 2018

Exhibition runs through to January 8th, 2019

Massimo De Carlo
12 Pedder Street – 3F Pedder Building
Hong Kong
China

www.massimodecarlo.com

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MARIA LASSNIG

Posted on 2018-12-24

While Lassnig´s first solo exhibition at Capitain Petzel in 2013 focused on large-scale paintings, this posthumous exhibition is dedicated to her graphic oeuvre spanning the period from 1974 until shortly before her death. Augensprache features a selection of fifty-two works curated in close collaboration with the Maria Lassnig Foundation. Displayed throughout the main exhibition space, some of Lassnig’s most poignant and affecting works on paper offer new insights into her concept of “body awareness” and bear special witness to her inexhaustible urge toward renewal and self-research.

Opposite – Gesichtspunkte, 1997

Exhibition runs through to January 5th, 2019

Capitain Petzel
Karl-Marx-Allee 45
10178 Berlin
Germany

www.capitainpetzel.de

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ROBERT JANITZ – UPTOWN CAMPUS

Posted on 2018-12-24

Robert Janitz’ seemingly simple shapes belie a meticulously built contemplation on painting. He generally begins with grounds of gradient color on stretched linen, which are then covered in strokes of semi-transparent paint whipped with flour. The contrasting opacities and transparencies of his marks create fissures of light. Sometimes the paintings feature torqued rectilinear boxes, or they are composed of fields of brushstrokes alone. While it seems possible that the paintings allude to expressionism, the paintings are in fact carefully delineated sets of “procedures” that provoke awareness rather than sensation.

Janitz asks fundamental questions, such as what is a brush, paint, or even a surface; and how, via his hand, these tools and materials can generate a mark. He handles paint bluntly: the broad strokes are direct and unadorned. Janitz carefully considers and builds the different pictorial planes of each painting, contemplating the two-dimensional work and its ability to create three-dimensional illusion— how color and shadow operate with and against each other.

Opposite – Uptown Campus, 2018

Exhibition runs through to January 26th, 2019

Anton Kern Gallery
16 East 55th Street
10022 New York

www.antonkerngallery.com

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