JOSEPH STASHKEVETCH | Biography

 

JOSEPH STASHKEVETCH

1958    Born in New Jersey

1980    Rhode Island School of Design, Providence, Rhode Island

SOLO EXHIBITIONS

2013    The More Things Change, Von Lintel Gallery, New York

2010    Chimera, Baldwin Gallery, Aspen

2009    Hudson Sketches, Von Lintel Gallery, New York

2007    Kampuchea, Galerie Michael Schultz, Berlin

            New Drawings; Baldwin Gallery, Aspen

2005    Plenty, Von Lintel Gallery, New York

American Muscle and Failed Hybrids, Galerie Michael Schultz, Berlin

2003    Quincunx, Von Lintel Gallery, New York

            Baldwin Gallery, Aspen, Colorado

2001    New Drawings; Clouds and Bridges, Glenn Horowitz, New York

2000    New Drawings; Clouds, Baldwin Gallery, Aspen

1999    Recent Drawings, Inman Gallery, Houston

Recent Drawings, Paul Morris Gallery, New York

1998    New Works, Turner Runyon Gallery, Dallas

Road Work, John Berggruen Gallery, San Francisco

1997    Passage, Morris-Healy Gallery, New York

1995    Morris-Healy Gallery, New York

SELECTED GROUP EXHIBITIONS

2012    Suspended Disbelief, Von Lintel Gallery, New York

2011    Summer Group Show, Von Lintel Gallery, New York

2010    The Pencil of Nature, Julie Saul Gallery, New York

2007    Dangerous Beauty, Chelsea Art Museum, New York

2006    Joseph Stashkevetch: New Drawings, Marilyn Minter: Photographs, Baldwin Gallery, Aspen,

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2005    Drawing on Nature, Klemm Gallery, Siena Heights University, Adrian, MI

2004    Supersized: Drawn to Completeness, Meadow Brook Art Gallery, Oakland University, Rochester, MI

Art on Paper, Weatherspoon Art Gallery, University of North Carolina, Greensboro, NC

In Passing, Inman Gallery, Houston  

2004    Structures: Architecture in American Art, 1900-1997, John Berggruen Gallery, San   Francisco

An Exhibition of Drawings, Joseph Stashkevetch, Dark Passages, Megan

Fox Gallery, Santa Fe

            A Show of Hands, George Adams Gallery, New York

Brooklyn, New York, USA Bonni Benrubi Gallery, New York

2001    International Print Center, Spring/Summer Show, New York

2000    International Print Center, NY Fall/Winter Show, White Columns, New York

1999    The Great Drawing Show, Kohn Turner Gallery, Los Angeles          

Works on Paper, Rebecca Ibel Gallery, Columbus

1998    Pollution, Gian Ferrari Arte Contemporea, Milan

Bathroom, Thomas Healy Gallery, New York

Vaknin & Schwartz: Two Thumbs Up, Vaknin Schwartz Gallery, Atlanta 

1995    Inaugural Exhibition, Paul Morris Gallery, New York

1994    Media to Metaphor: Art about AIDS, Grey Art Gallery, New York

Monnai de Paris, Quai de Conte, Paris

Gallery Arte et Patrimoine, Paris

1986    Park II Exhibit: Cooper-Hewitt Museum, New York

 

 

SELECTED BIBLIOGRAPHY

2011    Eigen Huis Interieur, no. 4, November, ill.

            Phillips, Ian, 60m², Architectural Digest China, September, p. 167-168, ill.

            Architectural Digest Germany, September, ill.

            IDentity Magazine Dubai, September, ill.

            Hong Kong HOME Journal, July, p. 4-5, ill.

            Goodman, Wendy, Extreme Décor, New York, May 9, p. 72-73, ill.

            Phillips, Ian, Knalizart, Architectural Digest Germany, May, p. 177, 200, ill.

2010    Decker, Elisa, Review: Joseph Stashkevetch, Von Lintel Gallery, Art in America, January, p. 116, ill.

Reed, Julia. Perfectly Suited: Inside Ralph Lauren’s Ultrachic Manhattan Home, Elle Décor, October, p. 208, ill.

            Park Avenue Duplex, New York Spaces, September, p. 81, ill.

2009    Book: Rockman, Deborah, Drawing Essentials: A Guide to Drawing from Observation, published by Oxford University press, cover, preface and p. 69, ill.

2006    Oksenhom, Stewart, Top Drawer: Joseph Stashkevetch, Aspen Times Weekly, December 30, p. 35

2005    Haber, Nick, Abstract Gallery-Going, Fall 2005: Jules, Olitski, Neil Welliver, and After, Channeling Abstraction: John Haber in New York City, http://haberarts.com/action05.htm

Camellia: Joseph Stashkevetch, City Magazine, December, p. 160-161, ill.

            Joseph Stashkevetch, The New Yorker, November 14

Joseph Stashkevetch, The Village Voice, NYC Guide: Art, November

Roesler, Cate, Nature and art go hand in hand, The Daily Telegram, November 11, p. A5

            Schönheit, Fliehnde, Joseph Stashkevetchs mibratene Blumen, DIE WELT.de, Saturday,             January 29, p. 23

2004      Sousanis, Nick, Super Sized, Drawn to Completeness, The Detroiter, December 10

Bolleber, Luise, Talent Covers Walls, The Oakland Post, December 1, p. B3

            Stafford, Nicole, Size Matters, Exhibit Speaks to the Power of Drawing, Filter, November 18

            Carducci, Vince, Plus-sized Art, Larger than life-sized drawings at Meadow Brook,  Metrotimes, November 17-23, p. 33

del Valle, Robert, Stage and Canvas (much, much better than reality TV), Real Detroit Weekly, November 10-16, p. 10

Bulka, Douglas, Supersized, Drawn to Completeness, Meadow Brook Art Gallery, Oakland University, catalogue p. 42-47, ill.

Reedings, Harper’s Magazine, March, p. 20, ill.

Estersohn, Pieter, Acquired Taste, Elle Décor, March, p. 122

Colman, David, Craig’s List, Elle Décor, no. 104, Dec/Jan, p. 134-139

2003    Phillips, Ian, Orient Obsessed, Elle Décor, no. 102, October, p. 204-209

Thornburg, Barbara. Track Star, Los Angeles Times Magazine, September 28, p. 54-59

Preskill, Adam. Joseph Stashkevetch, Baldwin, Aspen, ARTnews, vol. 102, no. 6, June

Preskill, Adam. The Illusion of Art, Aspen Daily News, Thursday, January 30

2002    Feist, Silvia, Ganzvolle Leistung, VOGUE Deutsch, March, p. 296-301

2001    Owens, Mitchell, Gold Standard, Elle Decor, October, p. 252

Thomas, Kelly Devine, Living with Art, Mary McFadden’s Odyssey, ARTnews, vol. 100, no. 10, November, p. 120-122

2000    Working Proof, Joseph Stashkevetch, Art on Paper, vol. 4, no. 6, July–August, p. 55

1999    Lewis, Julia. Wall to Wall, INTERIOR DESIGN, vol. 70, no. 10, August, p. 154-159

            Ashton, Dore, Grand Illusion, INTERIORS, March, p. 97-98

1998    Weinstein, Joel, Joseph Stashkevetch, Turner and Runyon Gallery, Artlies, Winter

Rees, Christina, Heavy Metal, Abstraction doesn’t take the bite out of those creepy machines, The Dallas Observer, November 4

Harris, Elise, Industrial Art, OUT, October, p. 28

Szabo, Julia, Lofty Vision, Elle Decor, no. 61, August/September

Homophile, July

San Francisco Magazine, April

1997    Humphrey, David, New York Fax, Art Issues, November

Johnson, Ken, Art Guide: Joseph Stashkevetch, The New York Times, September 26

Schmerler, Sarah, Joseph Stashkevetch, ‘Passage’, Morris Healy, Time Out New York, no. 104, September 18-25

Cohen, Mark Daniel, Joseph Stashkevetch, Passage, Review, September 15

Time Out New York, August 28 - September 4

Blanckaert, Marie-Claire, Au Palais Royal, Une Leçon de Sobrieté, Elle Decoration, no. 73, September, p. 98-103

Boxer, Sarah, The Glory That Was Brooklyn and the Grandeur That Was Manhattan, The New York Times, March 28

1996    Blanckaert, Marie-Claire, A Paris, Un Espace Taille Sur Mesure, Elle Decoration, no. 65, September, p. 76-79

1995    New York Magazine, September 25

New Yorker, September

1992    Elle Decor, October/November

1991    Fisher, Thomas, The World Bank, Progressive Architecture, January, p. 106

Independent Curators Incorporated, New York, Catalog, 1991

1988    Grange-Bary, Christine, Les Mitres de _illusion, Maison et Jardin, no. 345, July/August

McFadden, Mary, Mary McFadden’s Jewel Box, Architectural Digest, September

 

 

PUBLIC COLLECTIONS

Whitney Museum of American Art, New York

Dallas Museum of Art

Museum of Fine Arts, Houston

San Francisco Museum of Modern Art

Progressive Corporation, Cleveland

The Ulrich Museum of Art, Wichita, Kansas

Hallmark Collection

JOSEPH STASHKEVETCH | The More Things Change - Opening Reception Thurs Jan10 6—8PM

Joseph Stashkevetch Sonata XII Ascension, 2012
conte crayon on rag paper
64 x 57 inches

JOSEPH STASHKEVETCH | The More Things Change
Opening Reception: Thurs January 10, 6—8PM
January10- February 16,2013

 Von Lintel Gallery is pleased to announce The More Things Change, an exhibition of new drawings by Joseph Stashkevetch.
This latest body of work represents some of Stashkevetch's most complex drawings to date. The subject matter—thousands of river-washed pebbles and rocky debris, lacy treetops emerging from the mist and striated mountains covered in snow—is executed with a painstaking level of intricacy and detail.
Stashkevetch develops his large-scale black and white compositions gradually, employing his signature technique. In progressive stages, the paper's surface is sanded away as the image is built up with conte crayon. The conte bonds to the paper, and the two materials become one. The process, both additive and reductive, creates an atmospheric quality in which light and shadow are in constant play.
Time is palpable in these monumental works. This is owed in part to the imagery, which alludes to the enduring history and cyclical nature of our planet. Yet the subject matter itself, the 'what' and the 'where,' becomes secondary. Standing before the work, one's focus shifts instead to the patterns embedded in the surface of the paper and the sheer breadth of Stashkevetch's compositions. Each mark is emblematic of the artist's time as the drawings break down and become as abstract as time itself. The imagery, while striking in its beauty, is merely a framework upon which Stashkevetch masterfully builds his effects.
Born in the United States, Joseph Stashkevetch studied at the Rhode Island School of Design. The artist's work has been exhibited extensively in the United States and Europe and appears in numerous public and private collections, including the Whitney Museum of American Art and the Dallas Museum of Art. The artist lives and works in New York. This exhibition marks the artist's fourth solo show with Von Lintel Gallery.

VALERIE JAUDON | ARTnews Review

ARTnews

Valerie Jaudon, Archive

2012, oil on canvas

54 x 72 in

Valerie Jaudon is a veteran investigator of abstraction’s potential, producing pristine, precisely conceived schemes, which she has varied, often just slightly, for each new body of work. Her concentration is formidable and her mental conceptions assume explicit physical form in her canvases and works on paper. Each work is a system unto itself.

In this strikingly concise show of ten large paintings, each image had the quality of a maze, a puzzle, or a Byzantine wall carving. In works like Glyph (2012), composed of nine squares—each linked by a band extending improbably from an adjacent square—we have the sense of chapters in a book, one developing from the last, but in no real order. It conjures those “experimental” novels of the 1960s with interchangeable chapters, in which the reader determines the sequence. But where to begin? The sense of an undefined plan is compounded by a tension between figure and ground that doubly confounds certainty.

Rather than remotely referencing nature or the figure, these works seem to invoke writing, if not language. Call it a pattern of nonverbal communication. We are led through curves and bends and intersecting lines— all mimicking the flow of writing, of speaking, of thinking. The line leads but does not terminate. Often it runs to the edge of a canvas, implying infinite progression and a story without end.

These paintings were striking and graphic, with white paint on raw tan linen, as in the 42- inch-square Essay (2012), or black on white canvas, as in the 54-by-72-inch Archive (2012), or white on black, as in the 54-inch-square Glyph. And they are highly refined and elegant. We follow the rhythm of their execution, the repetitions, and the apparently circular arguments. These works, like maps, like library systems, like charts, suggest that there is a key to understanding, but they also yield the thrill of being forever enigmatic and inconclusive.

— Barbara A. MacAdam

ROGER ACKLING — Opening Photos

ROGER ACKLING | NEW WORK - Opening Reception: Thurs Nov 29 6—8 PM

Roger Ackling,
Voewood 2012 , 2012
Sunlight on wood
with metal,
15 3/8 x 12 ¾ x ½ inches

ROGER ACKLING | NEW WORK
November 29, 2012 - January 5, 2013
Opening Reception: Thurs Nov 29 6—8 PM

Von Lintel Gallery is pleased to present an exhibition by the English artist Roger Ackling. For this latest body of work, Ackling continues to draw with sunlight, marking found wooden objects with burned lines; however, in this series, he employs empty picture frames, introducing a new focus on negative space.

For nearly forty years, Ackling has applied precise burn marks to wood, often discovered on England's Norfolk beaches, by reflecting sunlight through a handheld magnifying glass. In the new work, he covers the surface of collected picture frames with a rhythmic series of closely-placed lines, patiently applied during long solitary outdoor sessions. In the Minimalist tradition, the bands of unburned wood are placed at regular intervals, reflecting the dimensions of the object and creating a sense of geometric order expressive of a dialogue between the artist and the object. The overall effect balances extraordinary precision with the subtle imperfections of hand execution. The quiet repetition of the patterning is reflective of the meditative and ritualistic quality of the artist's method.

Roger Ackling (b. 1947) was born in Isleworth, London, and studied at St. Martin's College of Art in London. He lives and works in Norfolk, England. He has exhibited internationally since the mid-70s, and the public collections that hold his work include the British Museum, the Tate Collection, and the Victoria and Albert Museum in London; the Stedelijk Museum, Amsterdam, and the Fogg Art Museum, Boston. This exhibition is the artist's seventh at Von Lintel Gallery

View more @ VON LINTEL GALLERY

ROGER ACKLING | Selected Work

ROGER ACKLING | Selected Museums & Collections

Five Sunsets in One Hour 1978
TATE

British Council

 The Courtauld

Untitled (sunlight on wood)

Whitechapel Gallery (exhibited), London, England

1992

wood

References
Exh: Whitechapel open; London: Whitechapel Gallery; Jun - Aug 1992

Photograph
Type: A-negative
Negative number: A92/662
Copyright: © Courtauld Institute of Art

 Roger Ackling Voewood, 2004

Harvard / Art Museums

Art Gallery North South Wales

(Selected)

 

Weybourne, 1992

Voewood, 1999

Norfol, 199

 The British Museum

Roger Ackling (Drawn by); Three Lines in Kenya; three horizontal lines. 1977 Three panels of scorch marks on cardboard

Roger Ackling (Drawn by); 1 HR/ BROKEN/ 8.40-4.40/ 13/4/76; tightly spaced horizontal lines filling two thirds of page. 1976 Scorch marks on cardboard

Roger Ackling (Drawn by); One Hour Sun Drawing (Cloud Study); broken horizontal lines. 1977 Scorch marks on cardboard