“Back To The Future: The Paintings Of Louise P. Sloane/1976-2022”September 12 - October 26, 2024Opening Reception: September 12, 6-8 pm

Survey Exhibition of 50 years of Louise P. Sloanes paintings. 

Curated by Gavin Spanierman

Spanierman Modern

958 Madison Avenue

NYC NY

"Seeing Red: Renoir to Warhol"July 20, 2024 – January 5, 2025

"CBRRRO" 2012 60 x 48 inches.  Gift from Spanierman Modern.  Permanent Collection of Nassau County Museum of Art

The Nassau County Museum of Art will present Seeing Red: Renoir to Warhol, a major exhibition that reveals the many meanings, connotations, and associations of this powerful color in art.

Evoking strong emotion, red can represent the human condition. Its myriad variations have come to signify authority as well as love, energy, and beauty. Red warns us of peril and commands us to stop, but it can also indicate purity and good fortune. Red boldly represents political movements and religious identities. From the advent of our appreciation for this color in antiquity to its continued prominence in artistic and popular culture, this exhibition will span various world cultures through a range of media.

The exhibition will feature more than 70 artists, both established and emerging, ranging from the classical to the contemporary. American portraitists such as Gilbert Stuart imbued red in their stately paintings of prominent individuals to conjure authority. Robert Motherwell, Ad Reinhardt, and other major abstract painters displayed a deep fascination with red in their commanding compositions that evoke a sense of chromatic power. Alexander Calder prominently employed red in his two-dimensional works and in the mobiles for which he is most famous. Andy Warhol frequently used red in his artworks, from his bold and imposing silkscreened portrait of Vladimir Lenin saturated in bright red to his signature Campbell’s Soup Cans.

Artists today continue to captivate us with their interpretations of red through multiple perspectives. As Josef Albers wrote in 1963, “If one says ‘Red’ — the name of the color — and there are fifty people listening, it can be expected that there will be fifty reds in their minds. And one can be sure that all these reds will be very different.”

Franklin Hill Perrell, Chief Curator

Alex C. Maccaro, Assistant Curator

"The Rains Are Changing Fast:  New Acquisitions in Context"March 23 - September 1, 2024

On View at The Heckscher Museum of Art 

"North" 1987 48 x 54 inches. Beeswax and Pure Pigment Powders. Photo by Etienne Frossard.

Permanent Collection of Hecksher Museum of Art. 

The Rains are Changing Fast highlights artwork recently acquired by The Heckscher Museum of Art alongside a selection of key works long held in the Museum’s collection. For over a century, the Heckscher has been collecting and presenting art that explores the landscapes and social issues of its place and time. This exhibition, which takes its title from a 2021 video by Christine Sciulli, features new and beloved works of art that together reveal the diverse ways in which artists contend with environmental and cultural change. Created over a span of 175 years by 39 artists, the works are united by shared engagements with landscape, allegory, and abstraction.

Title...

"Artistry and Alchemical Process"

Spanierman Modern

958 Madison Avenue

NYC, NY 10021

"ALCHEMICAL PROCESS"

Group show at Spanierman Modern

"Louise P. Sloane"

Louise P. Sloane Paintings

May 27 - June 11, 2023

MM Fine Arts

Southampton, New York

In Association With Spanierman Modern

Curator:  Catherin McCormick

Louise P. Sloane

Louise P. Sloane 

All Fools
The Paper Fair

Art On Paper, September 2022

Spanierman Modern Booth

NYC, NY 

Seattle Art Fair

Seattle Art Fair

July 21-24, 2022
"East End Artists: Then & Now"
"Visual Alchemy"

"VISUAL ALCHEMY"

"Good Company"

Group Exhibition at Amy Simon Fine Art

Westport, Ct

LOUISE P. SLOANE: NEW HORIZONS

Throughout her career, Louise P. Sloane has challenged herself and evolved, guided by her pursuit of geometry and color.

Louise P. Sloane has always been fascinated with color, geometry, patterns, texture, and language. From 1975-1989 she painted in beeswax, creating works that diffused light while enhancing the luminosity of monochromatic colors. From 1990-2002, she experimented with a new painting style, using acrylic mediums, paint, and pure pigment powder to create highly textured paintings. These works were typically divided into rectangles or squares that had over-all patterning infused with abstracted text.

Sloane’s affinity for creating depth with abstracted text grew to be a dominating feature in her work. As this new methodology progressed, her source material expanded from random phrases to highly personal and emotionally charged passages. In 2002, after having a conversation with Richard Anuszkiewicz regarding the use of optically charged color, Sloane’s work took another leap forward, and she began to use bold, bright colors.

Firmly rooted in the modernist tradition of minimalist and reductive painting, Sloane’s work is influenced by titans like Josef Albers, Frank Stella, and Richard Anuszkiewicz. The grids in her paintings have always acted as foundational structures, as if they are firmly planted by gravitational forces. One of the most visually pleasing aspects of her work is the juxtaposition of this stable composition with a joyous use of colors that bounce off one another, seemingly trying to break free of the confines of the canvas.

Sloane’s new body of work continues to explore the ideology of breaking free from the confines of the material world. Inspired by both Hilma af Klint and Kazimir Malevich, 2019 and 2020 found Sloane experimenting with a wider color palette, and new geometric forms. The rectangles and squares that have always felt anchored to the center of her paintings have now become untethered. These shapes now feel weightless, unbound by the gravitational pull tugging at them from the grid upon which they appear. The buoyancy of these geometric forms creates a tension within the rectangular grid, and they feel as if they might float off the wall.

“The visual language of my paintings embraces the legacies of reductive and minimalist ideologies, while celebrating the beauty of color, and the human connection to mark making. The way the brain registers color, movement and spatial/geometric relationships is at the heart of my work.”

Louise P. Sloane received her BFA from School of Visual Arts and lives and works on Long Island, NY. Her paintings have been collected and exhibited internationally at museums and galleries. This is the third solo exhibition of Louise P. Sloane’s paintings at Spanierman Modern.

LOUISE P. SLOANE: NEW HORIZONS

Throughout her career, Louise P. Sloane has challenged herself and evolved, guided by her pursuit of geometry and color.

Louise P. Sloane has always been fascinated with color, geometry, patterns, texture, and language. From 1975-1989 she painted in beeswax, creating works that diffused light while enhancing the luminosity of monochromatic colors. From 1990-2002, she experimented with a new painting style, using acrylic mediums, paint, and pure pigment powder to create highly textured paintings. These works were typically divided into rectangles or squares that had over-all patterning infused with abstracted text.

Sloane’s affinity for creating depth with abstracted text grew to be a dominating feature in her work. As this new methodology progressed, her source material expanded from random phrases to highly personal and emotionally charged passages. In 2002, after having a conversation with Richard Anuszkiewicz regarding the use of optically charged color, Sloane’s work took another leap forward, and she began to use bold, bright colors.

Firmly rooted in the modernist tradition of minimalist and reductive painting, Sloane’s work is influenced by titans like Josef Albers, Frank Stella, and Richard Anuszkiewicz. The grids in her paintings have always acted as foundational structures, as if they are firmly planted by gravitational forces. One of the most visually pleasing aspects of her work is the juxtaposition of this stable composition with a joyous use of colors that bounce off one another, seemingly trying to break free of the confines of the canvas.

Sloane’s new body of work continues to explore the ideology of breaking free from the confines of the material world. Inspired by both Hilma af Klint and Kazimir Malevich, 2019 and 2020 found Sloane experimenting with a wider color palette, and new geometric forms. The rectangles and squares that have always felt anchored to the center of her paintings have now become untethered. These shapes now feel weightless, unbound by the gravitational pull tugging at them from the grid upon which they appear. The buoyancy of these geometric forms creates a tension within the rectangular grid, and they feel as if they might float off the wall.

“The visual language of my paintings embraces the legacies of reductive and minimalist ideologies, while celebrating the beauty of color, and the human connection to mark making. The way the brain registers color, movement and spatial/geometric relationships is at the heart of my work.”

Louise P. Sloane received her BFA from School of Visual Arts and lives and works on Long Island, NY. Her paintings have been collected and exhibited internationally at museums and galleries. This is the third solo exhibition of Louise P. Sloane’s paintings at Spanierman Modern.

"20/20 Vision"

Holland Tunnel Art Newburgh

Newburgh, NY

February 8- March 21, 2020

"Abstract Allegories"Opening Reception:January 23, 20206-9PM

Each of the artists represented in this show convey abstract ideas and principles using varied applications, materials and patterns to tell their own personal story.

Spanierman Modern Miami

2201 Collins Avenue (between 22 & 23 Street)

Miami, Florida 33139


"LOCALLY SOURCED"Collecting Long Island Artists

Heckscher Museum Of Art

Huntington, New York

November 23, 2019 - March 15, 2020

Texas Contemporary Art FairSpanierman Modern Booth C13
#01 Biennale of International Reductive and Non Objective Art - Sydney"Coterie to Coterie"The Road Paintings - RNOP 2017-2019 100 international small-scale works of reductive art.

Curator and Essay:  Dr. Billy Gruner

Opening: Satu 19th October 2-5pm

Seattle Art Fair/August 1-4, 2019

The Seattle Art Fair is a one-of-a-kind destination for the best in modern and contemporary art and a showcase for the vibrant arts community of the Pacific Northwest. The fair brings together the region’s strong collector base; local, national, and international galleries; area museums and institutions; and an array of innovative public programming.

"NEW MODERN RNOP MELBOURNE THE ROAD PAINTINGS"

Massive group show of Non Objective Art paintings curated by Billy Gruner.

"The Big Circle"

International group show of Non Objective Art installed in Kiev, Ukraine.  Curated by Billy Gruner.

Color, Pattern, Texture and Shape: An Exhibition of works by Louise P. Sloane, Steven Alexander and Heidi Spector

Minimalism first appeared in NY in the early 60’s as a reaction to abstract expressionism.  This new wave of younger artists favored the cool over the dramatic, and overly expressive tendencies of their predecessors.  These painters and sculptors avoided overt symbolism and emotional content, but instead called attention to the materiality of their work. 

Minimalists sought to break down traditional notions of sculpture and to erase distinctions between painting and sculpture. In particular, they rejected the formalist dogma espoused by the critic Clement Greenberg that placed limitations on the art of painting and privileged artists who seemed to paint under his direction. The Minimalists' more democratic point of view was set out in writings as well as exhibitions by their leaders Sol LeWitt, Donald Judd, and Robert Morris.
 

Louise P. Sloane

“Louise P. Sloane is a painter whose distinctive production focuses primarily on color and light, materiality and texture. This became the matrix for the geometric configurations or symbols that she embedded into her paintings early on, followed eventually by textual excerpts that ousted the signs. Deeply invested in modernist aesthetics, as most artists of her generation were, she continues to embrace formalism, albeit an expanded, looser concept of it. While she prefers that her imagery be seen as pattern and texture, Sloane is also very aware that traces of narrative are inevitably present.” 
“As part of her attraction to modernism, and in particular to minimalism, to Op art, geometric abstraction, Color Field painting and beyond—Donald Judd, Brice Marden, and Agnes Martin have been her touchstones—she has almost always based her composition on the grid and its variations. Her formats have been either square or rectangular and are oriented both vertically and horizontally. Often, the support is just off square, enough to give the work a sense of tension and stretch. Her supports have also shifted between canvas, wood, Masonite, steel—whatever she finds to be best at the moment.”
From “In The Studio” an essay by Lilly Wei 
Spanierman Modern is very pleased to present the work of three artists all of whom work within the constraints of geometric minimalism: Steven Alexander, Louise P. Sloane, and Heidi Spector.  While all of them share an interest in color, form, texture, and shape, they employ very different approaches to accomplish their goals.

FOR THE LOVE OF COLOR

Louise P Sloane:  For the Love of Color 

February 7-March 9, 2019

 

Spanierman Modern is very pleased to announce its first solo exhibition of Louise P. Sloane in Miami.

Sloane’s work at first blush seems confectionary in nature because of her choice of color and texture.  Upon closer, more serious examination, it becomes clear that her work is characterized by rigorous attention to formal elements such as color, shape, balance, and depth. 

Sloane has continued to develop a unique composition, which straddles the lines of Minimalism, gestural abstraction, and Color Field painting.  Commonly rectangles are divided into quadrants, with a square in the center, comprised of high key complementary colors.  All are filled with dense lines of what resembles cursive writing, arranged horizontally on the outer quadrants and vertically on the inner square. Color, for which Sloane’s work is perhaps most celebrated, here attains an unprecedented luminosity.  

Louise P. Sloane’s painting emanate from a long and rich tradition in art history. The visual language of her paintings embraces the legacy of reductive and minimalist ideologies while celebrating the beauty of color, and a human affinity for mark making.

In the second quarter of the nineteenth century, J.M.W. Turner pushedthe limits of using dramatic color.In 1839, a French chemist named Michel Eugene Chevreul published his treatise on the vibrant interaction of the complementary pairings of color, which include, red-green, orange-blue and yellow-violet. Monet rejoiced in the complementary colors’ tendency to reinforce one another, painting red poppies in green fields. It was in this vein that van Gogh, after painting The Night Cafein Arles, explained to his brother Theo, "I tried to express the terrible passions of humanity by contrasts of red and green." 

Georges Seurat evolved a system. An honorary founding father of Op Art, Seurat painted dots in colors he knew would dissolve, or 'optically mix' in the eyes of the beholder. The Fauves, and especially Matisse, took the next step, severing color's dependence upon nature. After World War II, the Abstract Expressionists liberated color once and for all from representation. Mark Rothko aspired to paint tragedy in brooding tones of purple.  After ten intensive years of achievement, the works of Pollock, Rothko and de Kooning spoke for themselves.

Painters that came of age around 1960 were determined to go in an opposite direction. Some of these artists spoofed the new consumer culture, while others ignored it. All of them responded to the arresting colors and hard edges of its graphic design.   They accomplished this by employing all kinds of abstract forms and color contrasts that stimulated the partnership of eye and mind. Many artists experimented with one or more 'Op' techniques, as they came to be called, in exactly the same creative spirit that many twentieth-century painters and sculptors studied Cubism without a thought of becoming 'cubists'.

Louise P. Sloane joins the ranks of a small but mighty group of great artists including Ellsworth Kelly, Piet Mondrian, Mark Rothko, Richard Anuszkiewicz, Anton Albers and Barnett Newman. Like these monumental artists before her, she has dedicated her life's work to exploring the limitless possibilities of a single theme; an insistence on color

Solo Exhibition @ Spanierman Modern Miami

Solo Exhibition of Paintings by Louise P. Sloane - Title TBA opening at Spanierman Modern Miami, February 7, 2019.

RNOP Cincinnati New Work For A New System

Group Show Co - Curated by Jeffrey Cortland Jones (USA) & Billy Gruner (AU).  Produced in association with West Projects, Australia; WEST PI & Assoc International: Divisible, Dayton Ohio; and the Biennale of Contemporary Non-Objective Art, Genoble France.

Spanierman Modern at The Seattle Art Fair Booth F29


Seattle Art Fair
August 2-5, 2018
CenturyLink Field Event Center
Seattle, Washingington

The Seattle Art Fair is a one-of-a-kind destination for the best in modern and contemporary art and a showcase for the vibrant arts community of the Pacific Northwest. The fair brings together the region’s strong collector base; local, national, and international galleries; area museums and institutions; and an array of innovative public programming.

Spanierman Modern Booth F29
www.spaniermanmodern.com

ART ON PAPER

Art On Paper 2018

March 8-11, 2018
Pier 36
New York City
Spanierman Modern Booth

Geometric Memoirs A Selection of paintings by Louise P. Sloane at the Pierre Hotel

Louise P. Sloane: Geometric Memoirs at the Pierre Hotel, March 6-May 31, 2018

Spanierman Modern is very pleased to announce its first solo show of Louise P. Sloane.  The show consists of a selection of Louise’s brightly colored paintings.  Each work is infused with highly personal text that inspires and motivates her to keep growing and experimenting.
Louise P. Sloane’s paintings emanate from a long and rich tradition in art history. The visual language of her paintings embrace the legacy of reductive and minimalist ideologies while celebrating the beauty of color, and a human affinity for mark making.

In the second quarter of the nineteenth century, J.M.W. Turner pushed the limits of using dramatic color. In 1839, a French chemist named Michel Eugene Chevreul published his treatise on the vibrant interaction of the complementary pairings of color, which include, red-green, orange-blue and yellow-violet. Monet rejoiced in the complementary colors’ tendency to reinforce one another, painting red poppies in green fields. It was in this vein that van Gogh, after painting The Night Cafe in Arles, explained to his brother Theo, "I tried to express the terrible passions of humanity by contrasts of red and green." 

Georges Seurat evolved a system. An honorary founding father of Op Art, Seurat painted dots in colors he knew would dissolve, or 'optically mix' in the eyes of the beholder. The Fauves, and especially Matisse, took the next step, severing color's dependence upon nature. After World War II, the Abstract Expressionists liberated color once and for all from representation. Mark Rothko aspired to paint tragedy in brooding tones of purple.  After ten intensive years of achievement, the works of Pollock, Rothko and de Kooning spoke for themselves. 

Painters that came of age around 1960 were determined to go in an opposite direction. Some of these artists spoofed the new consumer culture, others ignored it. All of them responded to the arresting colors and hard edges of its graphic design.   They accomplished this by employing all kinds of abstract forms and color contrasts that stimulated the partnership of eye and mind. Many artists experimented with one or more 'Op' techniques, as they came to be called, in exactly the same creative spirit that many twentieth-century painters and sculptors studied Cubism without a thought of becoming 'cubists'.

Louise P. Sloane joins the ranks of a small but mighty group of great artists including Ellsworth Kelly, Piet Mondrian, Mark Rothko, Richard Anuszkiewicz, Anton Albers and Barnett Newman. Like these monumental artists before her, she has dedicated her life's work to exploring the limitless possibilities of a single theme; an insistence on color

Louise P. Sloane/Selected Paintings 1977-2017



Louise P. Sloane
Selected Paintings 1977-2017
November 18 - December 17, 2017
Curated by Richard Timperio
Opening Reception:  Saturday, November 18, 6-9PM
Sideshow Gallery
319 Bedford Avenue
Williamsburg, Brooklyn, NY 11211
718-486-8180

Catalog Available
Essay by Lilly Wei

The Warmth Of Winter

Grand Gallery
The Warmth of Winter

December 19 - January 6, 2017

Opening Reception:
Thursday, December 22, 6:00 PM to 8:00 PM


An invited group of artists participate to celebrate the arrival of winter and the holiday season, the Grand Gallery will overflow with a special holiday exhibition and sale benefitting The National Arts Club Will Barnet Student Show.  

Texas Contemporary

Texas Contemporary/September 29 - October 2, 2016

George R. Brown Convention Center - Hall A3
Houston, Texas

Gallery Sam
Booth 117/Oakland, CA

My Big Fat Summer Show


Amy SImon Fine Art
Summer Exhibition
July 8 - August 29th
Summer Open House Saturday, July 11, 1-4 PM

Louise P. Sloane - Recent Paintings

 
LOUISE P. SLOANE - Solo Exhibition
Recent Paintings
April 9 - May 9, 2015
Andre Zarre Gallery
529 West 20 Street
NYC NYC
 
"4CBS" 2014 
 

Louise P. Sloane New Paintings

Solo Exhibition of New Paintings by Louise P. Sloane to be shown at Andre Zarre Gallery, 529 West 20 Street #8E, NYC, NY 10011. 212-255-0202

April 7 - May 9, 2015  
Reception:  Thursday, April 9, 6-8PM

ArtMkt San Francisco 2014

Gallery Sam at Art Market San Francisco


Fort Mason Center - May 15-18 2014


Booth 223 | Oakland, CA


6461 Ascot Dr


Oakland, CA 94611


p. 510.384.4686




www.gallerysam.com



Texas Contemporary Art Fair

Paintings by Louise P. Sloane to be featured in the Gallery Sam Booth 1117 at the Texas Contemporary Art Fair, Houston, Texas


October 10-13, 2013


George R. Brown Convention Center


Gallery Sam


6461 Ascot Drive


Oakland, CA 94611


www.gallerysam.com


p.510.384.4686  f.510.531.0775


The Summer Show

Summer exhibition of DMContemporary Artists opening June 14th and running through mid September 2013.


Sideshow Nation

\"Sideshow Nation\" is Richard Timperio\'s genius group exhibition for 2013.  This event is the most democratic and inclusive by invitation only salon exhibition.  Richard Timperio weaves a tapestry of well known, emerging and here to for unknown talent.


The exhibition opens Saturday January 5, 2013 and will run thru March 3, 2013.


Paperazzi

Group exhibition of works on paper curated by Janet Kurnatowski.
\"Heliotrope Square\" (private collection)

MIC:CHECK

The 12th Annual Extravaganza opening at Sideshow Gallery, January 7, 2012

Louise & Randy Hotter Than \'Ell

Louise & Randy
Hotter Than \'Ell

October 15, 2011 - November 13, 2011

Opening Reception:October 15, 6-9PM
Jazz Performance:   November 11, 7-9PM


Sideshow Gallery
319 Bedford Avenue
Williamsburg, Brooklyn, NY 11211
(718) 486-8180
www.sideshowgallery.com


Miniatures Gallery at Art 101

Art 101 now has a permanent gallery of miniatures.  Please visit the gallery to see this unique group of works by various artists.

Art 101
101 Grand Street
Brooklyn, NY 11211-4123
(718)302-2242

An Exchange With Sol Lewitt

A curatorial investigation of what Sol LeWitt would like based upon his legacy of his exchanges with other artists. Curated by Regine Basha. Over 1000 works on exhibit at both Cabinet Magazine in Brooklyn, NY and at Mass MoCa, Mass.

ITS ALL GOOD - APOCALYPSE NOW

Eclectic Group Show

January 9 - February 20, 2011
Curated by:
Richard Timperio/SideShow Gallery

SideShow Gallery
319 Bedford Avenue
Brooklyn, New York

Summeryview Group Exhibition

Group Exhibition at OKHarris Works of Art
383 West Broadway, NYC, NY
212-431-3600
Through July 17, 2010

WNYC\'s The Greene Space Announces Winners for Its Call for Art

A distinguished panel of New York-based artist, curators and critics-Cey Adams, Shawna Stoller Brickly, Martha J. Fleischman and Joe Wigfall-selected the works that best embodied New York conversations for our Dialogue of Art. The works will be exhibited through Spring 2010 in locations in the The Greene Space.
Louise P. Sloane\'s painting COBALT TEAL BOUNCE was selected for exhibition in The Green Room


All images copyright LouisePSloane Photo: Etienne Frossard

An Icompendium Site