Like many of you, we have withstood a number of hardships over the past few months, the most significant of course being the passing of Renato Danese. It is with a heavy heart that we have determined we are unable to keep the gallery open. 

We are deeply grateful to the artists with whom we have worked, and the many collectors and colleagues who have supported us over the years. It is these relationships that have sustained us, particularly through this difficult time.

We hope you will continue to stay in touch, as we set off in new directions. Carol Corey will be opening Carol Corey Fine Art in Kent, CT (email carol@coreyfineart.com) and will be in contact with more details in the coming weeks. Associate Directors Brent Auxier and Kate Pentkowski Kline have partnered together to create Auxier Kline (instagram @auxierkline) and will be reaching out regarding their exhibition program. 
Should you have any questions about Danese Corey, please feel free to be in touch at contact@danese.com

We look forward to meeting again in our new ventures. Until then, please stay safe and well.
 

Certain comic artists carry an aura that makes everything around them look like their work. In the company of Saul Steinberg, a simple Italian restaurant on Sullivan Street could feel as gravely melancholy and precisely ordered as one of his drawings, while a day spent with Bruce McCall has a hallucinatory atmosphere in which everything in Manhattan seems to have been transplanted from a midsize Canadian city in the nineteen-fifties—to the point that he seems able to find parking spaces at will, as if carrying them in his Torontonian pocket. So when the cartoonist and graphic storyteller Roz Chast invites a friend to dinner near her West Side pied-à-terre, where she escapes from her staider, greener Connecticut life, the Turkish restaurant she chooses inevitably turns out to be the most purely Chastian locale in New York...

Nancy Toomey Fine Art
1275 Minnesota Street
San Francisco, CA 94107

An exhibit of work by abstract painter Connie Fox, will open Monday, September 2, in the University of Lynchburg’s Daura Gallery....

Drawings from The Ingram Collection of Modern British Art are paired with drawings by contemporary sculptors, in a conversation which plays out across the paired works and the show as a whole.

Parasol unit foundation for contemporary art is delighted to present Nine Iranian Artists in London: THE SPARK IS YOU, a group exhibition of works by contemporary Iranian artists whose vision looks beyond the ordinary. Each piece was selected for the affinity with openness, respect and human interconnectedness evinced in the work.

Join us for the inaugural ADAA Chelsea Gallery Walk on Wednesday, July 18, 6-8 pm.

To Find Rest presents the work of San Francisco artist Hadi Tabatabai. The exhibition features several monochromatic thread paintings; the centerpiece is an installation entitled Transitional Spaces. Measuring 7' x 4' x 10', this ethereal structure combines drawing, painting, and sculpture. Drawing on the viewer’s sense of perception, the piece seems to float in air while alternatively leading the viewer toward a doorway to the unknown....

We are pleased to announce Elizabeth King's induction into teh National Academy, New York. Founded in 1825, the National Academy fosters the awareness, appreciation, teaching, and professional practice of art in America. The National Academy Museum collects and exhibits historic and contemporary American art. The members elect notable American artists and architects to membership in an honorary association of their peers, whose work is collected and displayed at the Museum.

Miller Gallery at Carnegie Mellon University    Purnell Center for the Arts    5000 Forbes Ave.    Pittsburgh, PA 15213

Through an elegant combination of drawing, painting and sculpture, Hadi Tabatabai's work describes a place that is as much an idea as a physical location. These compositions embody liminality: that is, they create a constant experience of sensations that exist at the limen, or edge, of perception. To bring about this state, Tabatabai has removed all possible distractions. Narrative and figuration, even figure and ground, have been excised from these delicate combinations of squares, rectangles and floating lines....

Transitional Spaces  Thu 02 Nov
5:00pm   Exhibition Opening and Festival Reception, College of Fine Arts Great Hall
6:00pm   Artist Talk, College of Fine Arts Kresge Theatre

"Dozier Bell: Land, Sea and Sky" features an installation of ethereal compositions that transcend time and belie their scale.  A remarkable painter living and working in Maine, Dozier Bell composes environments both unsettling and sublime, recalling ambitious landscape traditions of the 19th and early 20th century.  Born in Lewiston, Maine, Bell has exhibited extensively, and has been recognized with multiple Pollack-Krasner Foundation grants, a grant from the Adolph and Esther Gottleib Foundation, and a Purchase Prize award from the American Academy of Arts and Letters.

The Kunstmuseum Mülheim an der Ruhr will host major painting exhbiiton of the work of Matthias Meyer.

Shelley Reed's seven artists portraits, which were included in the museum's exhibition "Van Dyck, Rembrandt and the Portrait Print," have been accepted into the permanent collection of The Art Institute of Chicago. 

Our dear friend and gallery artist Patrick Faulhaber passed away from lung cancer on May 11, 2016.

As Renato Danese described in the Dallas News' obituary, "Faulhaber had a remarkable ability to capture the character of the humble places in the Dallas environs. It was almost as if Tennessee Williams or John Steinbeck or Eudora Welty was standing behind him. He had an awareness of the inner soul of whatever he was painting. He was also one of the finest human beings I’ve ever met. He was a sweet, lovely man with great talent and he is sorely missed.”

STOCKBRIDGE — Roz Chast’s cartoons, the subject of a terrific summer show at the Norman Rockwell Museum, are about everything that’s incommensurable in life. They try to equate, on the one hand, this, this, that, these (how many do you want?), oh and that, too, take your pick; and on the other, splat. Sound of escaping air. Nothing.

How I love them.

On Saturday night, in a ballroom holding hundreds of top cartoonists, the organizers might as well have piped in Taylor Swift’s “Shake It Off,” because for only the third time in the event’s six-decade-plus history, a woman — the New Yorker’s Roz Chast — received the group’s big honor, the Reuben Award for Outstanding Cartoonist of the Year. And her trophy capped what may well be the event’s winningest night ever for female writers and artists, as six women won in the 16 competitive categories.  

Take a guess who’s behind Outta-Here (2015), a boldly abstract, nearly seven-foot-wide acrylic painting, dense with frenetic brushstrokes in saturated pastel hues. It’s not a boundary-pushing street artist or an edgy emerging painter: it’s Larry Poons, a veteran New York artist who’s nearly eighty years old.

Youth, as it turns out, is less important than inspiration—and Poons, who’s been working in the field for nearly six decades, seems to possess an endless supply of the latter. He dropped out of the New England Conservatory of Music in 1955 to pursue a career as an artist; 10 years later, his work was selected for inclusion in the seminal MoMA exhibition “The Responsive Eye,” considered the first introduction of op art to the public. Since then, he’s moved into an abstract-expressionist style, and now, in his late 70s—at a stage of life when many artists retreat into the background, appearing in galleries only for retrospectives of their work—Poons is producing some of his most energetic and interesting work to date. 

Viewers can smile at the eponymous blue figure in Oh Charlie suspended over a blur of reds, blues, yellows and Poons’s brilliant range of whites, or revel in the Joan Mitchell-esque greens sweeping along a diagonal in Untitled, two of the bright spots in a consistently powerful show.

The great critic and curator Robert Pincus Witten once observed, “Poons instrumentalizes chance (the very hallmark of Abstract Expressionist painting)." The value of that felicitous expression is particularly suited to Premonition and Gravity, which changes course both gesturally and chromatically innumerable times on the way from edge to edge. Check out the dates on these canvases:  All came out of the studio from 2014 to the present.

It is truly amazing, how fertile is the invention of Larry Poons, still going strong at 77. Even more amazing is how successful are so many of the works in “Larry Poons: New Paintings” at Danese / Corey (through May 29).

Abstract expressionism, Monet lily pads and steamy more Bonnard summer gardens are still the ancestors here, but now in some cases with narrow brush strokes outlining forms that overlie the base fields of gently waving strokes of color. 

Susie MacMurray is an artist who is fascinated by different materials. She explores both their structural possibilities and inherent meanings, building up dramatic sculptures out of unexpected materials such as household gloves (A Mixture of Frailties), sheet music (Resonance), mussels (Shell) or garden hose pipes (Flood). For her newest work, Cloud, a site-specific installation created for Winchester’s medieval Great Hall, she turns her attention to barbed wire and military identity tags. 

Nicole Phungrasamee Fein 

Hadi Tabatabai

Cheryl Ann Thomas 

Lynne Woods Turner

Gallery Chat: Renato Danese and Carol Corey on Their First Show for Roz Chast, Their “Quality Work” Agenda and Dealers’ Commitment to Artists

Roz Chast published her first cartoon in The New Yorker in 1978; since then, she's had more than one thousand two hundred and seventy run in the magazine. On a blisteringly cold, recent winter morning, we rode the train to Connecticut and stepped inside her colorful and cartoon-filled home

An Evening of Critical Conversation About Art, presented by the National Academy Museum in partnership with artcritical.com.   Friday, March 13 at 6:30 p.m.

Moderator David Cohen’s guests David Levi Strauss, Jennifer Samet (in her series debut) and Christian Viveros-Fauné see four strong and diverse solo shows of installation, sculpture and painting by Alex da Corte, Atta Kwami, Charles Ray and Sean Scully. In addition, the panel is checking out a show of younger, emerging painters at Danese/Corey.

Booth 420

By Olivia Pittman

3. Smith College Museum of Art

Smith’s art museum features extensive permanent collections in European paintings and sculptures. The museum also features over 5,700 photographs dating as far back as the early 19th century, and a section for changing exhibitions (like the one below by Emily Eveleth).

"Cloud" is a monumental new artwork by artist Susie MacMurray.

Responding to conflict, loss and memory, and in particular the First World War, "Cloud" reflects the ominous presence of conflict which hung over Europe during 1914-18. This aerial work will hang from the roof of Winchester's Great Hall and hover above drifts of replica identity tags representing both fallen soldiers and those that returned.
"The war hung heavy over the population of this and other countries like a great storm cloud -- its shadow touching everyone and sucking individulas into its mass on an unprecedented scale. People who were left behind were affected just as profoundly as those who crossed the sea to fight."  (Susie MacMurray 2015)

Visitor Information: Castle Avenue, Winchester, Hampshire SO23 8PJ, United Kingdom
+44 1962 846476

February 5 - March 29, 2015; 10 to 5

A mention of the lecture appears in the blog of Eddie Dupuy, Dean of the Southwest School of Art

Inspired by meeting John Cage in New York in the 1990s, after pursuing cello studies at the Oberlin Conservatory, Theresa Chong’s early work incorporated chance/random aesthetics and musical notation into elaborate and elegant ink painting. Now, midcareer, Chong returns to an abstraction that skirts Asian traditions in ways that are deeply original:  small marks on exquisite paper hold their own between highly worked, nearly textural embellishments and a fine sense of overall composition. 

Roz Chast, “Can’t We Talk About Something More Pleasant?,” Bloomsbury

In her graphic memoir, Ms. Chast, a cartoonist for The New Yorker, details her parents’ final years and their struggles with dementia, illness and financial instability. “No one has perfect parents and no one can write a perfect book about her relationship to them. But Chast has come close,” Alex Witchel wrote in a review in The New York Times.

For the first time in its history, the National Book Foundation has named a cartoonist a contender for its nonfiction award.

Roz Chast, the longtime New Yorker magazine contributor, is one of 10 authors on the nonfiction longlist, the foundation announced this morning.

Chast, however, is the only woman on the list.

To view the full article, please click link below

Matthias Meyer
Insomnia
September 18 - October 24, 2014

The new US Ambassador to the United Kingdom, Matthew Barzun, and his wife hosted a reception at their official home in London yesterday to unveil a display of works of contemporary art by US and British artists in the grand rooms of Winfield House.
The installation of works by American artists, including Kehinde Wiley, Glenn Ligon, Spencer Finch and Roxy Paine, and British artists Cornelia Parker, Susie MacMurray and Julian Stair, has been organised by the Barzuns with Art in Embassies, which is part of the US Department of State. The majority of the works are on loan from private collectors or the artists via their galleries.

To view the full article, please click:
Link

Sag Harbor’s artist-in-residence April Gornik travels to New York City Thursday, May 29, for a reading and book signing of her latest book, “April Gornik: Drawings.”

To read full article, click here.

Anyone familiar with April Gornik’s art knows she likes to work large—very large.

“My paintings are usually bigger than six feet,” Gornik said in a recent interview. “They occupy a little more than your corporal presence and they meet you like another presence. Hopefully you’ll have a reaction similar to the physical scale.”

Gornik’s massive, ethereal landscapes are not quite of this world and tend by design to evoke introspection, emotion or memory. Her imagery can take viewers to tranquil spots such as still ponds and calming waterfalls, or to seas that churn and expansive golden fields threatened by ominous skies. She also likes to visit the quieter, cathedral-like environment of forests in her work, the towering trunks and sun dappled interiors offering mystery and a maze of possibility.

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Based in Boston, Mass., Shelley Reed is an unexpected painter because she does not use color in her current work, although she started out as a colorist. Her palette shrank as she became less interested in exploiting color and more interested in exploring the meaning of Old Master paintings. The result of her ongoing “conversations” with the Old Masters is Animal Instinct, an impressive selection of 26 large-scale black and white paintings of animals posing as people, including a wall-length mural. The CMA is the first museum to present a career retrospective of American artist Shelley Reed.

For more information about the exhibition, please click:
Link

In 1979, at the urging of her friend and colleague, the painter Elaine de Kooning (1918 – 89), Connie Fox moved to East Hampton. Almost daily, the two walked and swam at Sammy’s Beach, a local flat strand of shoreline. Fox calls her continuing “Sammy’s Beach time” a “meditative hike.” Decades of memories, exuberant, elegiac, real, and surreal collide in Connie Fox: Sammy’s Beach her new series of large abstract paintings, completed between 2007 and 2014. Stunned by their grandeur, a young art crowd casually wandering in for the Danese/Corey gallery reception stayed on. Little wonder, for sans technology and appropriation, Fox’s paintings are edgy, fresh, and utterly contemporary. As one young man, transfixed before “Sammy’s Beach X,” observed, “They’re about everything a painting is supposed to be.”

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Roz Chast feels — and draws — our pain. Our neurotic worries and genuine fears, our mundane and existential anxieties, our daydreams, nightmares, insecurities and guilty regrets. Or, rather, she does such a funny, fluent job in her New Yorker cartoons of conveying the things that keep her up at night that many readers are convinced that she is somehow mapping their own inner lives.

To view the full article, please click:
Link

When people talk about extending the human lifespan to 120 it bothers Roz Chast. "That upsets me for a lot of reasons," she tells NPR's Melissa Block. "I feel like these are people who don't really know anybody over 95." The reality of old age, she says, is that "people are not in good shape, and everything is falling apart."

Chast should know. The longtime New Yorker cartoonist is an only child and became the sole caretaker for her parents, George and Elizabeth Chast, when they reached old age. In her new, illustrated memoir — Can't We Talk About Something More Pleasant? — Chast mixes the humor with the heartache. It's about the last years of her parents' lives and her relationship with them as their child and conflicted caretaker.

To view the full article, please click:
Link

The paintings and drawings on view in April Gornik's current show at Danese/Corey -- roiling seas, active skies, and serenely lit forests -- come across as truthful. Gornik believes that "truth should involve complication" and the apparent beauty of her paintings is heightened by the artist's awareness of the circumstances and forces surrounding them.

Just as John Constable's paintings of the English countryside hinted that the Industrial Revolution was bringing change to the landscape, Gornik's world is permeated by her wistful recognition of environmental forces. She loves the scenery she paints and her work doesn't have the requisite ironic distance of true postmodernism: Gornik is too much in touch with the way she feels about the landscape, and in its spiritual potential, to let a cerebral approach dominate.

I recently interviewed April and asked her about her work, her methods and her personal concerns and interests.

To view the full article, please click:
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Parents Safely in the Closet
RIDGEFIELD, Conn. — By way of introducing her parents, Roz Chast opened her closet door and rummaged through some stuff on the floor. This is where she keeps them, amid miscellaneous boxes and general bedroom marginalia: her mother’s ashes in a maroon velvet pouch; her father’s in the Channel 13 tote bag he took with him everywhere.

“I like having my parents in my closet,” is how she explains it in her new graphic novel, “Can’t We Talk About Something More Pleasant?”, which chronicles the pair’s long, precipitous decline, starting from when her mother fell off a stepladder in 2005 to the time she died, in 2009 (Ms. Chast’s father died in the middle of all that). “I think it makes a nice home for them.”

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Danese/Corey is pleased to participate in this year's Downtown Fair
May 8 - 11, 2014
VIP Preview, Thursday, May 8 from 2-5 p.m.

69th Street Armory
68 Lexington Avenue (between 25 and 26th Streets)
New York, NY 10010

March 6 - 9, 2014
VIP preview, Weds, March 5

Pier 92 (Twelfth Ave at 52nd St, entrance at 55th St)

Dozier’s Bell’s imaginary landscape drawings comprise a vision of nature that sweeps across vast plains and valleys, ascends into lofty skies, and reaches toward far distant horizons, its range seemingly boundless, its scale undeniably majestic. The vision often pictures nature at dawn or dusk, its light generally dimmed and pale or momentarily darkened by clouds, its expanse sometimes broken only by a first or last glimpse of the flashing sun, its temper otherwise solemn, even troubled, as if brooding. The drama we observe in these panoramic images is evident in the ever-shifting cloud formations and constantly changing light they record, their restlessness making visible the conditions that obtain when the atmosphere suddenly warms or cools, fronts collide, and weather threatens.

To view the article, please go to:

Link

This show is like a dictionary illustration for the verb “paint.” Massed small strokes in acrylic fill eleven large canvases, which suggest slightly different weather zones of a single, expansive country. The colors are effulgent, the textures fleshy, the touch urgent. Varied tones produce threats of figure-ground recession from which Poons recoils as if stung, wrestling them toward flatness. He has become the Sisyphus of modernist abstraction: achieving an old-school ideal of pure painting, which promptly expires. Then he does it again. Through Feb. 8.

To view the article, please go to:

Link

These new works integrate Poons’s mastery of counterpoint construction, developed through the Dots and subsequent decades of painting. I would suggest that no other painter is able to mentally/visually construct color relationships across a huge canvas and through the duration of the working process like Poons.
To view the article, please go to:

Link

It’s daunting to think of the paintings and painters passing through Larry Poons’s mind these days. They seem to include Poussin, Claude, Cézanne, Renoir, Bonnard, early Picasso and always Pollock. At least those names can come to mind in front of Mr. Poons’s lush, teeming expanses of short, crazed, curling brush strokes, pastel colors and intimations — but only that — of landscape, bacchanals and Mediterranean sun.

To view the article, please go to:

Link

Larry Poons’s recent paintings at Danese/Corey not only show him producing significant work as he approaches his eighties, but, unlike others of his age, Poons has refused to step gracefully behind his younger colleagues. He continues to work vigorously, and he has instinctively kept pace with painters years behind himself.

To view the article, please go to:
Link

Montana artist Anne Appleby is one of six Northwest artists to win the 2013 Contemporary Northwest Art Awards at the Portland Art Museum. Anne Appleby.

To view the article in The Oregonian, please go to:
Link

A wonderful review of our exhibition "Susie MacMurray: Walking on the Rim of Night"

Artist Susie MacMurray consorts with the dangerous quality of beauty, that threatening edge between the sublime and the sinister. MacMurray, who is currently exhibiting in her first solo show in New York and inaugurating the new ground floor space of the renamed, Danese Corey Gallery, was once a classical musician. She played the bassoon before she abandoned the confinements of per-forming someone else's tune to compose her own visual creations, but the skills and practice garnered in the concert hall arena still underscore her work. MacMurray understands exactly how, and exactly where, the tension between dis-parate components can be brought together to form an unexpected harmony....

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Artist April Gornik finds inspiration in the nature preserves of the Hamptons for her breathtaking landscape paintings. by R. Couri Hay

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Danese Corey is in its new location!
Please stop by during our inaugural exhibition, Susie MacMuray: Walking on the Rim of Night
which opens Thursday, September 12 from 6 to 8 p.m.

Modern Painters and Blouin Artinfo names 500 best galleries worldwide in their 2013 Annual Gallery Issue

The gallery is relocating to a new space on street level at 511 West 22nd Street. We are moving in August and will begin the new season with an exhibition of work by Susie MacMurray, opening September 12.