Contemporary Abstract Acrylic and Flashe on Canvas Painting "That Is" by Dana Gordon

Description

Acrylic and Flashe on canvas
Edition: Unique, Unframed.
In this New Series 2018, Dana Gordon tries to get everything into … more Acrylic and Flashe on canvas
Edition: Unique, Unframed.
In this New Series 2018, Dana Gordon tries to get everything into the painting with the most efficient means possible.That is, he does not exclude anything that abstract painting can include - emotion, intellect, line, color, shape, composition, object, subject, presence, absence, explosiveness, restraint.Its all here in varying degrees along (and in every place on) the line and the way it interacts with the color and the field and the way it makes shapes with itself.After choosing the colors to work on (having some idea what sort of event is coming), Gordon tries to get everything he knows, feels and has experienced into the moment he put the liquid drawing onto the canvas.
Dana Gordon is an American abstract painter whose exuberant work has for decades directly explored the potential of mark-making and line to create meaning-imbued color, shape, and space. In recent years, he increasingly pushed his line into the expressive possibility of liquid calligraphy. For Gordon "abstract painting can express human nature and experience in full-through meaning, feeling, and beauty in visual form." As a multidisciplinary artist, Gordon also has written about art, designed sets for opera and dance, and, in the period 1968-78, made avant-garde films as well as paintings.He lives and works in New York City. Gordon was born in Boston in 1944 and grew up in Chicago. He has spent his artistic career in New York City since 1967, with the exception of years in the 1970s when he taught at the Universities of Michigan, Massachusetts and Wisconsin, and the Honolulu Museum of Art. The artist received a BA in art from Brown University in 1966 and an MA in art from Hunter College in 1969. He worked as assistant to artists Tony Smith and George Sugarman in their studios in the late 1960s[i]In 1966-67, Gordon studied photography with Aaron Siskind at the ID in Chicago. In addition to painting, Gordon also made avant-garde films during 1967-78, shown in solo exhibitions at the Museum of Modern Art and film museums internationally. Gordons writing on art (particularly on Camille Pissarro) has appeared in Commentary Magazine, the Wall Street Journal[ii], the New York Sun, the Jerusalem Post, and Painters Table[iii]. Gordon was one of the founders of New Yorks Painting Center in 1993 [iv] As a child, the artist was very close to his maternal grandfather who was a Talmudic scholar and in whom the young Gordon found a loving spirituality. Gordon moved with his family to Chicago when he was only five. His mother introduced him to the Impressionist and Post-Impressionist paintings at the Art Institute of Chicago, while his father, a scientist who played the piano, exposed him to classical music and jazz. Growing up with an awareness of the cities amazing buildings, Gordon was tempted to become an architect.Dana Gordon painted as a child and took courses at the Art Institute of Chicago. Although his parents encouraged his appreciation of art throughout his childhood, when he decided, while in college, to become an artist, they turned totally against it, but he didn't change his decision. Early in his career, Gordon produced shaped, three-dimensional canvases for about ten years. But in the mid-1970s, he "started over" (as he puts it), re-exploring painting directly from its most basic components, using mark-making and line as his main vehicle or entry point.The results, from series to series, have sometimes leaned more to linearity, other times to clusters of marks, and still other times to the shapes that were delineated. The qualities of lines and calligraphy varied across a whole range, from infinitely thin pencil lines (edges of shapes) to very broad brushstrokes, wide enough to be shapes themselves.In his 2010-2014 paintings, the line has become the edge of shapes, providing distinct areas for full expression of color. Gordon also thinks of the single shapes, adjoining shapes, and clusters of shapes as little paintings in themselves, within the larger whole painting.In his practice, the artist doesn't use earth colors or black, but only spectral colors creating clear, specific and strong artworks. Asked about his approach to color, Gordon said: "A painter needs pure color like a composer needs pure precise tones." When asked about his inspirations, the artist said, "Im inspired by all my experiences and observations, by people, cities, landscapes and art, to make abstract paintings that are as full, rich, complete and meaningful as the great master paintings of the past. I want my art to provoke deep feeling and thought, as well as pleasure and joy. Essentially it asks, and answers, two questions: what does it feel like to be alive, and what is art." Dana Gordon was immersed in an artistic environment during his youth, visiting the Art Institute of Chicago many times. However, the early epiphany that made him comprehend creativity emerged from jazz clubs visited in his teens: hearing and seeing the improvisations of Miles Davis and John Coltrane was, as Gordon says, to be inside the creative thinking of artistic geniuses in real time, while they did it. Living in downtown Manhattan in the late 1960s, Gordon was surrounded by a concentrated and very lively art world. During his studies in painting and sculpture at Hunter College, his teachers were such artists as Tony Smith, George Sugarman, Ad Reinhardt, and Ralph Humphrey, among others.Dana was attracted to and inspired by their practice because they exemplified complete seriousness and dedication in art, as well as the highest level of artistic achievement. At the same time, he became friends with the painterAlice Neel, an equally serious and accomplished artist with a somewhat different view of art and the art world.He worked at MoMA for about a year where he could examine some of the most important works of modern art at length. Later, Gordon worked at the Honolulu Museum of Art where he studied its collection of Chinese landscape and Zen painting.Dana Gordons compositions evoke somewhat Orphism Cubism and are kaleidoscopic and contemplative. When painting, Gordon is interested in the visual conversation between colors, shapes and lines.This understanding of art is found not only in his paintings but likewise in essays he wrote for various publications about one of his inspirations, the artist Camille Pissarro.About Pissarro, Gordon wrote in the Wall Street Journal in 2007, Pissarro is popularly known as the first Impressionist. But in his own lifetime he was known for doing more. He was, in essence, the first abstract artist. He showed that paintings basic qualities, colors, brushstrokes, materiality, lines, shapes, composition were meaningful in their own right, and transformed paint into purely visual poetry. One is faced with existential questions every time one starts to work on a painting, which is ultimately what makes it worth looking at, and doing. In general, I try to let everything I have experienced affect my painting. And then let the process sort itself out. The process is like a conversation (often an argument) with the painting and its both mental and physical.Painting is a comprehensive and open-ended visual language of intellectual, psychological, and emotional expression. (Its essence is truly visual, nothing at all narrative, literary, academic, theoretical, or political.)Historically abstraction derives from all forms of art, but fundamentally it also underlies them. Abstract form comprises our view of nature and is found in all of nature. James Panero, executive editor of the New Criterion, has been reviewing Gordons exhibitions for years and says about his work: Dana Gordon has been working through a particular abstract construction that positions a color form within a grid. While many artists paint widely, Gordon paints deeply. He has been singularly dedicated to understanding the possibilities of this particular idiom.The gradual evolution of his work has become an art project in itself. I can think of few artists who are as thoughtful in examining the building blocks of oil on canvas (;) Rather than exhaust a simple language; Gordon has demonstrated how a few basic elements can captivate us with a kaleidoscope of visual interest - Westbeth Gallery in New York Citys Greenwich Village invited Gordon to have a 50-year retrospective in March 19, the gallery wrote, After Gordons several solo shows in recent years in New York and Paris we thought it an appropriate time to tell a more complete story. James Panero, art critic and executive editor of The New Criterion, announced the Westbeth show.[v]- In September 2018 Gordons recent work was shown at the Galerie Metanoia in Paris, about which David Cohen, editor of Art Critical, wrote Lucky Paris! [vi][vii]- MJ Bono, a collector wrote about Gordons work: when I saw your recent exhibit at Westbeth I looked at your various series and thought here is an artist who thoroughly explored all the possibilities for him and was not afraid to move on to try different challenges. That is hopefully what we all must do. He is the recipient of several grants and fellowships including the Pollock-Krasner Foundation, the Edward Albee Foundation, the Wisconsin Arts Board, and other. In 1980, he received a grant from Change, Inc., Robert Rauschenbergs foundation.Dana Gordons critically acclaimed abstract painting has been seen in many solo exhibitions since the 1970s.In March 2019 he was invited to have a 50-year retrospective of 40 paintings by the artist-run Westbeth Gallery in New York Citys Greenwich Village.In September 2018 Gordons recent work was shown at the Galerie Metanoia in Paris.Prior to these Gordon was given solo exhibitions of his paintings at the Sideshow Gallery, (2017[viii], 2013[ix]), the Andre Zarre Gallery (1997, 2014[x]), the Painting Center (1994), 55 Mercer Gallery (1993, 1994), and the Ericson Gallery (1982) in New York, El Camino Real in Boca Raton (2003), and Adelphi University (1995), among other places[xi]. His painting also has been in many group shows including at the Paolo Baldacci, Peder Bonnier, Charles Cowles, Kouros, Janet Kurnatowski, Ledis Flam, Sideshow, Blondies, and PS122 galleries. Gordon's work is featured in public and private collections nationally as well as internationally, including the Brooklyn Museum of Art, Philip Morris Corp and the American College of Greece. Andre Zarre Gallery, NYC, NYSideshow Gallery, Brooklyn, NY David Cohen, Art Critical, on FB, 2018: Lucky Paris.James Panero, Painters Table, 2017: Matches painterly intuition with a philosophical awareness....Gordon is one of those creative originals.Ann Saul, Delicious Line, 2017:These powerful paintings are not for the faint-of-heart.James Panero, New Criterion, 2014:While many artists paint widely, Gordon paints deeply.... Gordon knows what only painting can do.Grace Glueck, New York Times, 1997:; a very lively eyefest. Hilton Kramer, Artforum, 1995: ...among artists I would include in the Whitney Biennial.Jonas Mekas, letter, 1995: What my little visit to your studio did, it restored my faith in art.[xii]Helen Harrison, New York Times, 1994:...beautiful paintings, filled with the controlled exuberance of a carefully orchestrated spectacle.Valentin Tatransky, catalog essay, 1992: Look at his pictures again and again. John Russell, NY Times, 1987: ...well worth seeking out; a painter of whom it would be good to see more. Linda Gross, L.A.Times, 1978: ...for purists and pioneers in pursuit of new perceptions. less