Fredericks & Freiser

09/09/2022

Tonight: “The Gods are in the Kitchen” opening reception 6pm to 8pm. See you there!

08/05/2022

“The Gods are in the Kitchen” opens August 25 with an artist reception on September 9.

For the artist’s second solo exhibition with the Gallery, Pincus-Whitney continues her investigations into the social landscape of the communal table. Pincus-Whitney’s compositions are sacred rites, much like contemporary Eleusinian Mysteries—viewers are given the tools to achieve clarity and meaning in individuated experiences that will always be opaque to others.

From food and drink to flora and books, the artist’s vibrant objects invite the viewers into their ritual space. Teeming with these objects whose transmutability allows them to function as signs and symbols, Pincus-Whitney’s allegorical compositions are at once hermeneutic diagrams and Jungian sandplay wherein the audience becomes totally immersed amongst myriad referents. The things that populate the canvases bubble to the surface in a cosmic mush like words demanding to be cohered into a poem.

A voracious scavenger and sorcerer of icons and meaning, Pincus-Whitney nods towards art historical genres while evading confinement by their regulations. Harnessing the logics of the still life, the artist’s dazzling tablescapes are imbued with the intimacy of portraiture and the sociopolitical possibilities of history painting. Yet, much of Pincus-Whitney’s world exists beyond art history as she regularly considers literature, psychology, botany, and mythology. References to Joan Didion, bell hooks, William Blake, and Maya Angelou exist alongside Victorian floriography and, of course, a cornucopia of food.

Taken as a whole, The Gods are in the Kitchen is a shapeshifting gestalt. Always invested in the duality of the sacred and the profane, Pincus-Whitney sets her tables for her audience to critically explore interpretation and association, or simply, how we make meaning in the world.

06/10/2022

“Unrefined Verbiage” closes tomorrow!

06/08/2022

05/14/2022

Very excited to bring into the gallery “Snatch,” 1993 which was included in the Aperto of the 1993 Venice Biennale. This week as part of Amsterdam Art Week, will be exhibiting her 2020 video “I Touch the Air” . Her photographs will be on view .

05/14/2022

Very excited to bring into the gallery “Snatch,” 1993 which was included in the Aperto at the 1993 Venice Biennale. This week as part of Amsterdam Art Week, will be exhibiting her 2020 video “I Touch the Air” . Her photographs will be on view .

03/24/2022

“Wheels, Flying Bodies, and Other Stories” opens Saturday from 6pm to 8pm.

02/19/2022

and are included in “Role Play” opening in Milan today

Their film “The R**e of Europa” was commissioned by the as a response to their landmark Titian exhibition and will debut in New York as part of the artists’ solo exhibition at the gallery in May.

02/17/2022

https://www.youtube.com/watch?v=Qt1ot3Cy2UY&t=8s
Jenna Gribbon talks to the Frick Museum about her impressive new painting now hanging with their unparalleled collection in the Breuer.

Artist Jenna Gribbon speaks with Deputy Director and Peter Jay Sharp Chief Curator Xavier F. Salomon about the third installment of “Living Histories: Q***r ...

02/16/2022

https://www.culturedmag.com/article/2022/02/16/jenna-gribbon-and-her-musician-muse-mackenzie-scott-blend-love-and-paint

With a current exhibition at MASSIMODECARLO in London, painter Jenna Gribbon and her muse, musician Mackenzie Scott, AKA Torres, discuss the potential dangers of mixing pleasure and business, art and love.

02/11/2022

https://www.nytimes.com/2022/02/10/obituaries/john-wesley-dead.html

With his cartoonlike work that seemed to plumb the American subconscious, he was celebrated as a Pop artist, a surrealist, an eroticist and more.

02/11/2022

https://www.artnews.com/art-news/news/john-wesley-dead-1234618930/

Though grouped in with Pop, Wesley often resisted that title.

02/10/2022

It is with deep sadness that we announce our dear friend John Wesley passed away this morning at the age of 92. He was an elegant, kind, and funny man who will be greatly missed.

John Wesley created an important and prescient body of work whose subject was no less than the American psyche. While many artists of his generation used the popular image to explore the cultural landscape, Wesley employed a comic strip style and a compositional rigor to make deeply personal, often mysterious paintings that strike at the core of our most primal fears, joys, and desires. His achievement was highly important to generations of younger artists.

Originally grouped with the Pop Art movement, and later on linked, due to the essentiality of his production, to Minimal Art (to such an extent that Donald Judd and Dan Flavin were counted among his greatest admirers), Wesley eluded simple classification. In fact, Wesley himself found both terms (Pop and Minimalism) to be reductive. With his meticulously expressive line, self-reflexive color palette, and photo-based meta-representations (as Judd described them), Wesley remains a unique voice in American art, whose work is best understood not as an outlier to the two canonical movements, but as a reaction to the aggressive realism of Pop and the unambiguous materiality of minimalism. Instead, his work turned inward toward a more intimate and lyrical expression.

01/03/2022

“After Hours,” 2021

12/22/2021

“Colour in the Shadows” opens on January 13th. London-based Kenneally’s quixotic figures are sequestered at the fringes of society. Evoking a Victorian Gothic melancholy, they radiate the aesthetics of darkness as they navigate uncharted surroundings like vagrants picking over decimated landscapes. Her neo-romanticism favors subversive poses amongst erratic brushwork in order to highlight a disconnect to the natural world. Kenneally is part of a new generation of painters whose practices render passé the battle between abstraction and figuration. For these artists, there is no conflict between the two as they now exist side-by-side with knowing nonchalance; similarly, there is no clash of high and low cultural references - all sources emerge on an equal footing.

The thirteen paintings in “Colour in the Shadows” combine the unknowable reverie of Rousseau’s Primitivist compositions, the fear and chaos of global warming in post-apocalyptic science fiction novels, the emphatic colorful gestures of The Brücke artists, the dramatic sonics of Dark Wave music, and the intimate yet anxious tenor of her generation’s most inspired figuration. There are specific art historical references—from Klein to Munch—as Kenneally demonstrates painterly command of canonical forms that define the discipline: the artist’s devotion to the female form is central to her practice.

Set against disquieting vistas that sometimes appear abandoned and unhabitable, the figures are not fully defined or contained by clean linearity and instead rely on patches of color to give form to their bodies. Dramatic shifts in light sources illuminate some details while casting others further into mystery. Kenneally’s gothic portrayals of unruly forms in decimated landscapes come alive through brushwork that captures heat, energy, and heightened moments of contact. Hyper-painterly and bursting with color, they ultimately consider humans’ warped relationship with nature and their uneasy alliance with each other.

11/30/2021

Welcome to booth B20 with
Photography by

11/28/2021

opens tomorrow. Visit us at booth B20. On view are new paintings by and new works on paper by and .

11/03/2021

“Anchored in Midair” opening tomorrow from 6 to 8pm.

10/30/2021

Last day to see “Uscapes”

Pictured: “White roomscape,” 2021

10/27/2021

“Anchored in Midair” opens next Thursday 6pm to 8 pm .

Lunday’s paintings distort the boundaries between the real and the artificial to consider the constructions of relationships in a world informed by today's media culture. Her figures are modelled on the endless cycle of celebrities from reality television, Instagram, and paparazzi photographs. Combining images from these sources with her own personal photographs, the artist focuses on the messy ethics of our Insta-famous culture to create tableaus of romantic engagement where genuine emotion is hidden behind precarious notions of selfhood and awkward moments of human interaction.
 
Lunday’s paintings are saturated in bright oranges, purples, and blues. The unrealistic hues twin the artist’s visual interest in combining many layers of figure, gestural abstraction, and linework which at once draw the audience in and alert the viewer that these narratives are slippery and unstable. Visually and formally, Lunday’s decisions ensure against a straightforward read. To this end, Lunday paints her figures in positions that alternate between the casual aesthetics of the snapshot and the formal compositions of canonical masterpieces. 
 
In one portrait, a woman clad in a spaghetti-strap mini-dress poses holding a wine glass while two female onlookers lurk beside her recalling the paintings of Susanna and the Elders. In another painting, a Christ-like figure utterly consumed in purple and blue stripes slouches into the sturdy support of two flanking women, evoking the arrangement of a pietà. 
 
These formal connections to art historical touchstones call attention to, or perhaps begin to satirize, our cultural obsession with celebrity while foregrounding what happens when the strange and familiar collide. In Lunday’s paintings, this ambiguity replaces the authenticity of interpersonal relationships and affords the viewer an opportunity to reflect upon the instability of desire.

10/18/2021

“Uscapes” at the gallery through October 30.
Photo by

10/14/2021

We and are pleased to announce our participation in the 2021 for AIDs and Art auction to benefit and with “Noirscape,” 2021, 28 x 22 inches. To bid contact [email protected]

10/07/2021

https://artgallery.yale.edu/exhibitions/exhibition/basis-art-150-years-women-yale
Mary Reid Kelley at Yale University Art Gallery!

On the Basis of Art: 150 Years of Women at Yale showcases and celebrates the remarkable achievements of an impressive roster of women artists who have graduated from Yale University.

10/07/2021

https://art-fix.com/story/interview-with-jocelyn-hobbie/
Jocelyn Hobbie discusses her work on Artfix!

We spent 10 minutes getting to know Jocelyn Hobbie, the American talent behind the lush maximalist works of women.

10/07/2021

10/07/2021

“A p**s that’s not abject,” 2021

10/05/2021

10/02/2021

“Scenicscape,” 2021, oil on Linen, 80 x 64 inches

09/17/2021

Looking back on a spectacular evening celebrating . Thank you to the brilliant event planner and artist/chef Jen Monroe .biz. Photos by

09/04/2021

opens Thursday night!