Halasz, Piri "An Appropriate Distance from The Mayor's Doorstep"
"EXPERIMENT! BY LOUISE P. SLOANE AT SPANEIRMAN MODERN"
Panero, James
Panero's Latest: Gallery Chronicle (May 2015)
Posted: 01 May 2015
MAY 2015
Gallery chronicle
by James Panero
“Louise P. Sloane: Recent Paintings” at Andre Zarre Gallery
Louise P. Sloane’s recent abstractions are unmistakable. All are squares, divided into quadrants, with another quarter-size square in the center. All are comprised of high-chroma complementary colors. And all are filled with dense lines of what resembles cursive writing, arranged horizontally on the outer squares and vertically on the inner ones. That’s a busy program. Repeated over multiple canvases, it might sound mannered, or overly cautious, with the suggestion that an artist has fallen into doing one thing too well.
Then again, such a series done right can explore the nuances of repetition, pattern, and variation. Such was the case for Josef Albers’s squares, and it is again true for Sloane’s squares now on view at Andre Zarre.5 For these acrylics on aluminum panel, Sloane has become expert at modulating the colors of her squares and her writing. Just the right halo of color radiates around the edges of the compositions and beneath the text. She also contrasts the hard edges of her grid with the hand softness of the writing, which is laid down in three dimensions like pastry piping on top of her grids. Best appreciated in person, the writing shows variation one painting to the next, which have coded titles such as “4cbs” and “Bintel Blues.” What becomes clear is that these are not mechanical repetitions but personal memoirs written out longhand. In fact, her father’s own writing is a source material. Would it be better if this text was more legible, or said something more public (I had to ask if it referenced anything at all)? Perhaps not, as what’s private here gets subsumed into personal abstraction.
FROM THE MAYOR’S DOORSTEP
By Piri Halasz
Report From The Front
A GARLAND OF ABSTRACTS
December 6, 2017
LOUISE P. SLOANE: ILLUMINATING EVOLUTION
Although I have reviewed Sloane’s work five times since I first became acquainted with it in 2011, I had been having trouble in recent years finding something fresh to say about it. That is because Sloane is an artist who evolves very slowly, with the result that all of these recent shows have tended to look very much the same.
This show is different. As organized by Richard Timperio, proprietor of Sideshow in Williamsburg, it combines 17 works done from 1977 to 2017. Even better, they are not hung in a chronological order, but juxtaposed in such a manner as to create maximum contrasts. The result is a panorama of wildly contrasting colors and compositions. Bravo!
In a general sort of way, one might say that Sloane has evolved from minimalist canvases in drab colors that remind me of 60s work by Brice Marden to brilliantly-colored and intricate geometric abstraction.
But even the early work is not that minimal, being often enlivened by cryptic markings, and even the late work utilizes somewhat biomorphic “writings” within the geometric format.
I found three paintings that I liked very much and three more that I also liked (if not quite as much). They weren’t all earlier – or all later.
Three that I liked (but not as much) were “Fated 4” (2016), a classic in Sloane’s current style, with a pink square in the center, and yellow with blue in the surrounding squares; “Where Have We Been” (1994), a transitional number in grayish pinks, with a combo of bead-like and cryptic markings; and “Gyrus” (1977), with pale gray on green, painted in rows of diagonals.
Three that I liked best were “Abstract Realities” (1994), a two-part grayish green, with cryptic but irregular markings; “Symbols Before My Eyes” (1996), a two-part, misty green painting with little circles and stick figures incised in it; and for a grand finale, “Purple Haze” (2017), a very big and striking essay in the artist’s current style, with magenta center, surrounded by blue and purple squares.
http://www.colorobjects.com/en/magazine/item/333-louise-sloane-like-a-ten-year-old-having-a-great-day.html.
"9 in art: louise p. sloane"
Author: Nada Marjanovich Published: June 26, 2013
Long Island PULSE Magazine
http://www.lipulse.com/art-music/article/9-in-art-louise-p.-sloane
Architectural Digest Mexico
Icons of 2011
LITERATURE:
2006 “The Artists Canvas” by Chris Roberts, The Leader page 8,
6/7/06.
2005 “The Declaration of Independence As Abstract Art” by Helen A.
Harrison, The New York Times, Art Reviews, 11/27/05. “Louise Sloane
on WLIW21” The Great Neck Record, by Carol Frank, pp.23, 11/24/05.
“Louise Sloane Exhibition begins October 23” The Great Neck Record,
pp.46, 10/20/05. “Artscene on Long Island With Shirley Romaine:
Guest Louise P. Sloane” The Great Neck Record” 10/27/05. “Louise P.
Sloane-The Retreat” The Independent, 6/29/05. “Louise P. Sloane at
O.K. Harris”The Great Neck Record, 5/05. “Louise P. Sloane
-Narrative Abstractions” The Great Neck Record, 4/05.)
2004 Louise P. Sloane “Tactile Expressions” 24pg, 15 color plate,
exhibition catalog. Essays by Lily Wei and Rogene Cuerden. Savannah
College of Art and Design. The Chronicle “Sloane Ranger, Artist
Squares Off' by, Hannah Pittard, front page, pp.5, 3 color
reproductions, 4/2/04.The Great Neck Record, “Artscene on Long
Island with Shirley Romaine” pp62, 3/25/04. The Great Neck Record
“Louise P. Sloane Exhibit” by Carol Frank 4/1/04 pg 4.
2003 “Remembrances of Things Past and Present”(Surface & Structure)
by Helen A. Harrison The New York Times, Art Reviews 3/03.
“Beyond the Surface: An Artists Journey” by Carol Frank The Great
Neck Record 1/16/03 pp. 3 & 15, photo credit: Laura
Auerbach.“Surface & Structure” Angela Anton, The Boulevard,
pp.25“Art League of Long Island Presents, Surface & Structure,
Paintings by Louise P.Sloane”by Victor Caputo, Newsletter, The
Bryant Library, Roslyn, NY,pg.6
2001 Poughkeepsie Journal “Art Breaks the Mold” New Directions'01
by Nicole Edwards. The Star Ledger “a slew of blues, from a musical
point of view” Jazz spirit colors theme of City Without Walls
exhibit. By Dan Bischoff, pp.42.
“Kings Point Artist Curates All Blues” Great Neck Record 3/8/01
2000 “Artists Explore Texture” by Carolyn Lee, pp1A, 21A photo
credit: Kristina Fetkovich, Traveler Watchman 12/7/00
1999 “Louise P. Sloane at Elaine Benson Gallery” The Great Neck
Record, 7/29.
“Culture Vulture”Dishing it out forCharity, by Robt. Strauss,
Newsday, 7/27.
“The Retreat” by Patti Courville, Dan's Papers, 7/30. “The Retreat”
by Barry Gordon, Dan's Papers 8/6. “Cues From Materials,Size and
Experience” by Phyllis Braff, The New York Times 8/08.“Art
Commentary” by Marion Weiss, Dan's Papers, 8/13.
1998 “Metro Show” by William Zimmer, The New York Times 12/20. “The
Metro Show Salutes Small Wonders” by Dan Bischoff. Providence
Journal, by Bill Van Siclen 10/02, Providence Journal Bulletin,
9/28/98.“Artists Display Their Dark Side” by Dan Bischoff, The Star
Ledger
BLOG:
2008 March 17, 2008 myartspace>blog: Premium Selection
Joanne Mattera Art Blog: Awash in Color: “No Chromophobia”
Joanne Mattera Art Blog: More Color and Geometry (August
05,2008)
Steven Alexander - Journal No Chromophobia (7.6.08)
TELEVISION:
2005 “Ticket” Starring Linda Savini, Artist of the Week, Louise P.
Sloane, 11/05.WLIW22
2005 “Artscene on Long Island with Shirley Romaine: Special Guest:
Artist Louise P. Sloane”
2004 “Artscene on Long Island with Shirley Romaine:
Special Guest: Artist Louise P. Sloane”
2003 “Artscene on Long Island with Shirley Romaine:
Special Guest: Artist Louise P. Sloane”
1999 “Artscene on Long Island with Shirley Romaine:
Special Guest: Artist Louise P. Sloane”
1997 “Focus on Women, Special Guest: Artist Louise P. Sloane”
1995 “Artscene on Long Island with Shirley Romaine:
Special Guest: Artist Louise P. Sloane”
Cablevision Channel 44, Town of North Hempstead, produced these
programs listed above “Art Scene on Long Island with Shirley
Romaine”, A 30-minute interview with artists who work and/or live
on Long Island. “Focus on Women, with Florence Rappoport” A
30-minute interview dealing with women and their lives. Tapes from
“Focus on Women” are included in the Schlesinger Library located at
Radcliffe College, 10 Garden Street, Cambridge, Mass. 02148.
www.joannemattera.blogspot.com
A Tour of "Lush Geometry" @ DMContemporary New York
Sharon Butler. January 19, 2016
The Painting Center: When color matters
http://www.twocoatsofpaint.com/2016/01/the-painting-center-when-color-matters.html?spref=fb
http://www.colorobjects.com/en/magazine/item/333-louise-sloane-like-a-ten-year-old-having-a-great-day.html.
http://www.colorobjects.com/en/magazine/item/333-louise-sloane-like-a-ten-year-old-having-a-great-day.html.
http://www.ahtcast.com/2013/01/artist-interview-louise-p-sloane.html
NEW BRITAIN MUSEUM OF AMERICAN ART
FOR IMMEDIATE RELEASE
A Celebration of Color, Texture, and Form: Louise P. Sloane’s The
Mighty Quinns debuts at the New Britain Museum of American Art
New Britain, Conn., Oct. 11, 2012 – The New Britain Museum of
American Art is pleased to announce the recent acquisition of
Louise P. Sloane’s painting The Mighty Quinns. A graduate of the
School of Visual Arts in New York City, Sloane draws on geometric
abstraction and a love of both color and texture. Her aesthetic
belongs to a long lineage of reductive and minimalist artists such
as Piet Mondrian, Kazimir Malevich, Ilya Bolotowsky, and Josef
Albers, but strives “to utilize this rich past and move forward
through my own modifications and additions.”
The Mighty Quinns is the largest painting in Sloane’s latest body
of work, which employs the purity of the square combined with rows
upon rows of layered paint, resulting in a richly textural
composition with an intricate, woven appearance. Each row is
created by using a pastry tube to apply the paint in a cursive
manner. Though it is abstracted, the reference to written language
is inspired by text from Allen Ginsberg’s Collected Poems, which
hold personal significance for Sloane. Through laborious
mark-making that borders on meditation, Sloane moves beyond the
realm of minimalism toward a more conceptual practice.
The title playfully evokes Bob Dylan’s eponymous song, but is in
actually a more deliberate reference to “quinacridones”, a family
of synthetic pigments used to make paints of exceptional vibrancy.
Indeed, Sloane favors undiluted, unmixed and electric colors. As
Lilly Wei, New York-based art critic and independent curator,
observes, “The mixing takes place on the painting itself,
optically, as one color reacts to another…” In The Mighty Quinns,
the result is a tension between the blue, crimson, scarlet and
orange, which enlivens the simplicity of the square with rhythm and
vibration.
The Museum is delighted and honored to add this monumental painting
to the permanent collection thanks to the Sideshow Gallery in
Williamsburg, Brooklyn, New York. The Mighty Quinns can be viewed
on the far wall of the Museum’s Maximilian E. and Marion O. Hoffman
Foundation Gallery (Introductory Gallery) this fall. Sloane’s work
is represented in other significant public collections, including
the Jane Voorhees Zimmerli Art Museum, Savannah College of Art and
Design, Virginia Museum of Fine Arts, and the Yeshiva University
Museum. Sloane has most recently exhibited at Sideshow Gallery and
has also shown in numerous galleries including OK Harris and
Semaphore Gallery in New York City, and the Elaine Benson Gallery
in Bridgehampton, New York.
New Britain Museum of American Art
Museum Hours
Tuesday, Wednesday, Friday: 11 a.m. – 5 p.m.
Thursday: 11 a.m. – 8 p.m.
Saturday: 10 a.m. – 5 p.m.
Sunday: noon – 5 p.m.
Closed on Mondays and national holidays.
Tours
Tours for school and adult groups are available by appointment and
should be booked four weeks in advance. American Masterpieces Tour
at 1 p.m. Sundays.
Admission
Adults: $12; Senior Citizens, $10; Students, $8; Children under 12:
free. Free admission from 10 a.m. – noon on Saturdays. A Blue Star
Museum. $1 Admission with EBT.
Café
The Café on the Park serves American fare with regional
emphasis.
Museum Shop
The Museum Shop offers unique items related to the Museum’s
collection.
Directions:
From Interstate 84:
Take Exit 35 onto Rt. 72. Take Exit 8. Follow signs to Museum.
From Interstate 91:
Take Exit 22N (Rt. 9 North). Take Exit 28 onto Rt. 72W to Exit 7.
Follow signs to Museum.
56 Lexington Street
New Britain, CT 06052
www.nbmaa.org
Accredited by the American Association of Museums
The New Britain Museum of American Art is a member of the
Connecticut Art Trail, a partnership of fifteen world-class museums
and historic sites across the state. Discover collections rich in
history and heritage, including European masterpieces, American
Impressionism, ancient art and contemporary culture. Make the
Connecticut Art Trail part of your next travel experience. Visit
www.arttrail.org for information about member museums and lodging
packages.
Piri Halasz
(An Appropriate Distance)From The Mayor's Doorstep
November 7, 2011
Louise and Randy Hotter Than 'Ell
Sideshow Gallery, Williamsburg, Brooklyn, NY
http://www.pirihalasz.com/blog.htm?post=821886
Structure and Imagery blogspot
2011/11 louise-randy-hotter-than-ell-sideshowgallery
Louise & Randy Hotter Than 'Ell
Panero, James
Panero's Latest: Gallery Chronicle (May 2015)
Posted: 01 May 2015
MAY 2015
Gallery chronicle
by James Panero
“Louise P. Sloane: Recent Paintings” at Andre Zarre Gallery
Louise P. Sloane’s recent abstractions are unmistakable. All are squares, divided into quadrants, with another quarter-size square in the center. All are comprised of high-chroma complementary colors. And all are filled with dense lines of what resembles cursive writing, arranged horizontally on the outer squares and vertically on the inner ones. That’s a busy program. Repeated over multiple canvases, it might sound mannered, or overly cautious, with the suggestion that an artist has fallen into doing one thing too well.
Then again, such a series done right can explore the nuances of repetition, pattern, and variation. Such was the case for Josef Albers’s squares, and it is again true for Sloane’s squares now on view at Andre Zarre.5 For these acrylics on aluminum panel, Sloane has become expert at modulating the colors of her squares and her writing. Just the right halo of color radiates around the edges of the compositions and beneath the text. She also contrasts the hard edges of her grid with the hand softness of the writing, which is laid down in three dimensions like pastry piping on top of her grids. Best appreciated in person, the writing shows variation one painting to the next, which have coded titles such as “4cbs” and “Bintel Blues.” What becomes clear is that these are not mechanical repetitions but personal memoirs written out longhand. In fact, her father’s own writing is a source material. Would it be better if this text was more legible, or said something more public (I had to ask if it referenced anything at all)? Perhaps not, as what’s private here gets subsumed into personal abstraction.