http://www.fredericksfreisergallery.com/exhibitions/john-wesley14
http://www.fredericksfreisergallery.com/exhibitions/gary-panter-drawings-1973-2019
http://www.fredericksfreisergallery.com/exhibitions/gary-panter-drawings-1973-2019
http://www.fredericksfreisergallery.com/exhibitions/jenna-gribbon
http://www.fredericksfreisergallery.com/exhibitions/jenna-gribbon
http://www.fredericksfreisergallery.com/exhibitions/jenna-gribbon
http://www.fredericksfreisergallery.com/exhibitions/jenna-gribbon
http://www.fredericksfreisergallery.com/exhibitions/jenna-gribbon
Tackling the subject of war with a contemporary relevance…
Under a metahistorical guise, the filmmaking duo enact hidden tyrannies of the contemporary age, making them equal parts legible and ludicrous.
Kiki Smith sat down with Sam Messer to discuss his collaborative work with the writers Jonathan Safran Foer and Denis Johnson, now on exhibit at Fredericks & Freiser. Smith and Messer met in 1996 at the Moonhole Artist Colony on the island of Bequia, which is part of St. Vincent and the Grenadines. Denis Johnson was also at Moonhole at the same time. While there, he wrote the story “Denis the Pirate,” which is the text for Messer’s animated video.
For solo presentations, Fredericks & Freiser’s booth with several colorful Gary Panter works was a standout. Hung on black walls covered with countless original white chalk drawings, this punk pioneer's cartoony paintings, like Seven Dead, 21 Missing (1988) shined.
FREDERICKS & FREISER (D17): GARY PANTER
Mr. Panter, a comic artist and designer of sets and props for “Pee-wee’s Playhouse,” has created one of the fair’s livelier booths. In white chalk on walls painted black he drew hundreds of little characters and objects. Thereon hang a few of his vividly colorful paintings combining abstraction and scabrous cartoon imagery.
There are some very solid solo booths at Frieze New York — including Pace’s spotlight on Richard Tuttle, and Overduin & Co’s Math Bass showcase — but Gary Panter at Fredericks & Freiser is a cut above. (And I’m not just saying that because he was a recent Modern Painters cover star).
Panters’ vivid, B-movie-inspired canvases are hung against a massive chalk-drawing that the artist evidently completed in two days: A dense squiggle of pumpkin-headed freaks, dinosaurs, ghosts, piglets, and other oddities. It’s a mash-up of whimsy and horror — one of the largest canvases depicts a green-haired man with a noose around his neck, crying fat cartoon tears before being hung. In others words, a pretty accurate depiction of how many people in this tent will be feeling by the time Sunday rolls around.
For her first museum show in LA, artist Mary Reid Kelley reimagines mythology from a woman’s point of view.
by Stephen Maine: Standing in the Shadows: The Aldrich Collection, 1964-1974, Part 2, and exhibitions of Mary Beth Edelson, Kate Gilmore, Ernesto Neto, David Scanavino, Cary Smith and Jackie Winsor.
Kenny Schachter is a London-based art dealer, curator, and writer. The opinions expressed here are his own. This is the first of two installments of Schachter's Armory Week report.
