Friday, October 31, 2008

Feeley Sculptures

One of Paul Feeley's sculptures "Denib El Delphini" is being shown in Gary Snyder's Gallery: New American Abstraction 1960 - 1975.

Friday, September 26, 2008

Feeley Show review.. Jennifer Coates in New York

4. Paul Feeley: Nine Paintings at Matthew Marks, through October 25"Feeley’s paintings are playful and emblematic, bringing to mind toys, distilled art-historical decoration, and certain cartoon homunculi that appeared on television and in video games long after his death in 1966. The simplicity and directness of these paintings give the mind a calm space to rest, which is especially welcome on a jam-packed day of art viewing in Chelsea."

Wednesday, September 24, 2008

Paul Feeley: Nine Paintings at the Matthew Marks Gallery

Installation Shots of the Paul Feeley show at the Matthew Marks Gallery.
Photo Credit: Matthew Marks Gallery

If you are a Bennington alum, living in the NYC area- join your fellow alums on September 25th, 2008 for a private showing, followed by a cocktail reception. Call Bennington College for details

Monday, July 28, 2008

Upcoming Paul Feeley Exhibition

Nine paintings by Paul Feeley will be featured at the Matthew Marks Gallery, 523 W. 24th Street, New York, New York 10011; - 212-243-0200

September 13th, 2008 - October 25th, 2008

McNay Art Museum

The McNay Art Museum in San Antonio, TX ( just opened the Jane & Arthur Stieren Center for Exhibitions last month. Paul Feeley's 1962 "Skins" (39 5/8" X 180 5/8") graces the entry way to the new art Center. (Photo provided by the McNay Art Museum)

In the fall issue of the Contemporary Art Quarterly "Art Lies", Lawrence Jennings writes the following about Lawrence Markey's show that featured Paul Feeley's "Skins" and "Germanicus":

"While Feeley’s work was an uncomfortable fit with various aesthetic movements of the sixties—color-field painting, hard-edge painting, Op art and systemic painting—in the last years of his life his work was included in many prominent exhibitions: Clement Greenberg’s Post-Painterly Abstraction at the Los Angeles County Museum of Art in 1964, William Seitz’ The Responsive Eye at the Museum of Modern Art in 1965 and Lawrence Alloway’s Systemic Painting at the Guggenheim Museum in 1966. Considering the threads of figure/ground interaction, formal repetition and color theory found in Feeley’s late paintings and sculptures, it is easy to link his work to contemporary artists who consciously bring simple design into abstract art. In a catalogue published by Lawrence Markey/Matthew Marks Gallery in 2002, Lane Relyea writes, “Indeed, it’s exactly the difficulty in classifying Feeley’s paintings that make them seem such direct precursors to our current moment.”"

Sunday, March 2, 2008

More photos of the Bennington Museum show

view of exhibit from back wall
Left to Right (on wall) "Syracuse", "Achernar" "Rouso", and "Minoa"
(view from exhibit main entrance)

"Helena" on back wall

My daughter, Izze in front of her favorite painting - "Achernar"

"Conopus" on the stone wall...

Above are some more photos of the PTF show at the Bennington Museum. I apologize for the quality of these photos. They absolutely do not do this show justice. The show is gorgeous - beautifully laid out and exquisitely lit. It was wonderful to see so many of you at the museum and at Jane's gala event afterwards. Thank you again to Jane for throwing a wonderful party!

Wednesday, February 13, 2008

Bennington Museum Exhibition

Check out this gorgeous installation shot of the Bennington Museum show! (Photo by Tim Hunt of Catamount Photography. )

Monday, February 11, 2008

Artist: Paul Feeley Newsletter


The Paul Feeley show opened last weekend at the BenningtonMuseum and has already gotten quite a good buzz!Please see the curator's (Jamie Franklin) piece on Feeley on their website under current special exhibitions.

Historical info:
I recently came across this little old review of a show at the Betty Parson's Gallery:PAUL FEELEY ,Parsons, 24 West 57th."My own notion of art," claims Bennington Art Professor Feeley, "has to do with something that has presence but isn't unduly urgent, that brings you to it rather than projects itself upon you." His sensuous colors don't scream for attention, but they are thoroughly seductive once they get it. Fifteen works in plastic paint on unsized canvas. Through Nov. 21.

One way to guage Feeley's popularity is to see his influence on current contemporary artists, . Martin's paintings are investigations in color, formand texture, ranging from bold and graphic to gestural and expressionistic. Their surfaces are often distressed or collaged with elements including shellacked Wonder Bread, broken vinyl records and papier mache forms. Martin is deeply engaged withthe history of abstraction, and many of his own paintings incorporate homages to artistic influencessuch as Paul Feeley, Yayoi Kusama and Alfred Jensen. Martin has described his art as turning up the volume of painting and many of his works refer tomusicians including Miles Davis, John Coltrane and the Godfather of Soul: James Brown

PTF Signature Work Please see an image of one of Feeley's signatureworks. The National Gallery of Art in Washington D.C.owns one "edition" of the "Jack". Bennington College owns the other edition (currently on display at theBennington Museum).Paul Feeley believed that art was "the translation ofthree dimensions into two and of two into three." Jack is an abstract sculpture derived from Feeley's brightly colored paintings of undulating, symmetricalforms. It evokes a human figure standing on tiptoe andreaching out into all dimensions of space, like aballerina on point or a little girl flinging her armsout and twirling "just for the fun of it." The pointsand curves in the sculpture create new shapes from thespaces around them, making us see the room in a newway. Jack embodies Feeley's conviction that art shouldbe playful, imaginative, and accessible to people ofall ages. The sculptor hoped that his works wouldencourage viewers to "ease off" and take life lessseriously (Brockway, "Personalities of Painters in the'40s: Feeley, Knaths & Holt," Bennington Quadrille,February 1985).

Recent Blog references:
along with huxley, i saw a lot of paul feeley (whom matthew marks recently put back on artists' radars)and another british painter from the late 60's, robyndenny. i really wonder why it is that at this particular moment in time, the flat spare abstractionfrom the mid 60's and 70's has returned to painting,with, unfortunately, none of the substance, and all ofthe style.
Readers of this blog know I've been on a Nemerov jagof late since discovering his collected poems on the Chesapeake a few weeks back. Finding this presentvoice speaking to me on this trip was a delight. Interestingly enough, the current owners of the RobertFrost house, have a framed piece in the entryway that's based largely on Nemerov's stunning "ThePainter Dreaming In The Scholar's House." So we had to read this poem written for Paul Klee and Paul Feeley aloud in its complete form. A few selections:

For such a man, art is an act of faith:
Prayer the study of it, as Blake says,
And praise the practice; nor does he
Making from teaching, or from theory.
The three are one, and in his hours of art
There shines a happiness through darkest
As though spirit and sense were not at
That there should be much goodness in
the world,
Much kindness and intelligence, candor
and charm,
And that it all goes down in the dust
after a while,
This is a subject for the steadiest
Of the heart and mind, as for the tears
That clarify the eye toward charity.
So may it be to all of us, that at some
In this bad time when faith in study seems
to fail,
And when impatience in the street and
still despair at home
Divide the mind to rule it, there shall
some comfort come
From the remembrance of so deep and
clear a life as his.
Beautiful work. for Art at Bennington College
Paul Feeley wrote this Bennington Art Policy for Bennington College in October, 1959. Having studied art at Bennington, I can now see why and how I was allowed to learn and grow in the way I did. This is great.