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.
Panero's Latest: Gallery Chronicle (May 2015)
Posted: 01 May 2015
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.
"9 in art: louise p. sloane"
Author: Nada Marjanovich Published: June 26, 2013
Long Island PULSE Magazine
Architectural Digest Mexico
Icons of 2011
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
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)
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.
Sharon Butler. January 19, 2016
The Painting Center: When color matters
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.
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(An Appropriate Distance)From The Mayor's Doorstep
November 7, 2011
Louise and Randy Hotter Than 'Ell
Sideshow Gallery, Williamsburg, Brooklyn, NY
LOUISE P. SLOANE
A VISUAL SQUARE DANCE? SLOANE CAN EVEN MAKE SQUARES SING – AND SPEAKS FRANKLY ABOUT WHAT GIVES STRUCTURE TO HER PAINTINGS AND HER LIFE.
Louise P. Sloane is the consummate geometric abstractionist of our day! In one of her past exhibitions, which I attended, the possi- ble influence of Josef Albers on her works was mooted. While not denying the point, Sloane herself traces her artistic lineage back to Piet Mondrian – the undisputed epitome of geometric abstractionism. Her works are all squares that are evenly split into quadrants, with a smaller square in the center produced using the most luminous colors of the acrylic rainbow. Sloane prefers pure, undiluted colors that deliver the most intense hues. The mixing takes place on the painting itself. Each square is filled with row upon row of straight lines that look like horizontal cursive writing. Each slant is unique, as indeed are all her works. Though the artist clearly likes the uniformity of the square, she also enjoys segmenting it. Her works are known to have a direct correlation to Allen Ginsberg's collected poems and stories, which she transcribes into her own blend of verse, written out in long hand – her own form of conceptual creativity. Personally, I've never seen anything like this before: three, four or even five layers of paint on aluminum panels – a labor-intensive method indeed! Sloane, it is fair to say, goes beyond the realms of minimalism toward a more conceptual practice.
But let us hear what she herself has to say: »The visual language of my paintings embraces the legacies of reductive and minimalist ide- ologies, while celebrating the beauty of color and the human connec- tion to mark making. Dyslexia has proven to be the greatest challenge in both my private and professional lives. My fascination with the way the brain registers written language, color, movement and spatial relationships is at the heart of my work. In a world where there is little
harmony, these concepts give structure to my paintings as well as to my life. The art explosion in New York City during the 1970s and 1980s bombarded me with exciting artistic energy. While studying at the School of Visual Arts, I became intrigued by the subtle color palette of Brice Marden's paintings, the geometric symmetry of Larry Zox's work and the grand size and color of Robert Murray’s sculp- tures. A color course exposed me to the work and studio experiments of Josef Albers and the colony systems of Johannes Itten. Joseph Kosuth's proclamation to me in my studio that 'painting is dead' provoked a passionate motivation to prove him wrong.« Well, that's certainly one way to kick-start a career in painting!
Sloane's first major solo exhibition was at the Semaphore Gallery in Soho in 1981. At that time, her paintings were dominated by subtle tonalities and shifts in grays to which she sometimes added pearl essence or metallic powder. The triangles she etched seemed to float above the vigorous brush strokes, fusing her interests in geometry, color and light. Her second major solo exhibition – entitled »Louise
P. Sloane – Paintings in Encaustic« – took place in 1983 at St. Peter's Church in New York City. The paintings selected for this show fea- tured predominantly darker tones.
The artist's works are on display in the permanent collection at the Heckscher Museum of Art. They also appear in numerous significant public spaces, including the Jane Voorhies Zimmerli Art Museum, Savannah College of Art and Design, Virginia Museum of Fine Arts and Yeshiva University. New York galleries that show her paintings include the OK Harris and Semaphore Gallery, the Elaine Benson Gallery in Bridgehampton, the Sideshow Gallery in Brooklyn and the Painting Center.
Louise P. Sloane was born on November 11, 1952, in Queens, New York. Her primary education at the Lakeville School was followed by sec- ondary schooling at Great Neck High School. She then attended the School of Visual Arts, graduating with a bachelor's degree in painting in 1974. Having painted since the early 1970s, Sloane possesses a special New York City street-side intelligence thanks to her academ- ic credentials. Her affection for monochromatic tableaux and depth
is coupled with bright colors and distinctive textural productions. She has a son, a daughter and a gracious husband who assists her lovingly, regularly hauling her works of art from her studio to various museums and galleries!
»My paintings have to really sing,« Louise told me. »They have to slam me with straight up rock and roll, with the grit of Janis Joplin and the vibrato of Joni Mitchell.«
I gaze incessantly at your work, Louise. And yes, I hear the music and see the movement. They sing to me, a song full of life, with high falsettos, the deepest, throbbing basses and a rhythm anyone can dance to. Well done!
54 VIEWS MAGAZINE
Gigi O. Kracht
Big Bold and Beautiful
Art that Makes a Splash
Louise P. Sloane
VIEWS 2016, Page 54