art news & reviews & Interviews. jeff bergman, editor

Atlas – 49th – Fall preview

The fall art season is chasing me like a cartoon snowball rolling down a mountain.  I keep looking back and it keeps getting bigger.  Many galleries have already opened their seasons with their September artists (read as important but maybe not as important as October artist openings).

I wanted to give you a preview of what Atlas will have in store for the fall.  Considering the never ending barrage of openings (museum and gallery) that get mainstream coverage I am dedicating this fall to smaller profile but worthy events.  Next week, I’ll have some notes from the New York Art Book Fair and a review of Paul Reed, an elder statesman of DC Colorfield painting (nope, I didn’t know about him either) at D.Wigmore.

Paul Reed

In the next few weeks Atlas will have notes on some studio visits (both real and virtual) and enter into a conversation with some painters that just might be “New Casualists”.

I had the good fortune to contribute an essay for Mary Temple‘s commission Half Round, 2013 at Bethel University in MN. I’ll share that piece soon but in the meantime please watch this small film from Mary’s show at Rice University in 2011.

Flat/ not Flat, a show I was invited to curate at Artspace New Haven in November will open with the work of 4 artists who participate in their flat file program:  Jennifer Davies, Karen Dow, Alisa Dworsky and Martha Lewis.  Flat/ not Flat will show both their works on (and of) paper as well as an in depth exploration of their studio practice.

9.5 Theses 012-front

Ben Davis’ 9.5 Theses on Art and Class is a dense yet readable text that deals with activism, Marxism, isms in general and occasionally contemporary art.   A good primer on his ideas is available in this Modern Art Notes podcast.   My notes on it will most likely take me back through my art history readers from 15 years ago.  Maybe I’ll understand some of it this time.


Chris Burden at the New Museum will be both praised and wittily torn apart by the major outlets, but I imagine they will be soft on Burden’s recent years of massive installation work and focus on the grandness of his gritty possibly sadist beginnings.  Rather than a review, I’ll discuss the history that surrounds Burden.

Thanks for reading.  I always welcome comments and suggestions.


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