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.

"The Big Circle"

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


Massive group show of Non Objective Art paintings 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.


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
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