Rachel Feinstein

Oil paintings on mirrored surfaces, flat propped sculptures reminiscent of stage dressings, and abstracted reworkings of classical sculpture confront persistent issues of artistic representation such as theatricality and illusionism.

Since the beginning of her career, he has presented a succession of powerfully introspective subjects, from the haunting Hospital paintings to the visceral Meat paintings that juxtapose human subjects with butchered flesh; from the enigmatic Mask paintings to candid and startling close-up portraits; from intimate, existential still-lifes to depictions of pivotal Western cultural figures such as Francis Bacon, whose psychic portraits altered the status of the human figure in twentieth century art. Charged with an underlying psychological tension, Zeng's oeuvre reveals the place of the unconscious and the aberrant in the construction of human experience.

For the past decade, landscape has been a central focus of Zeng's art. In highly tactile scenes, the details of representation often overlap seamlessly with qualities of abstraction, as in certain traditional Chinese aesthetic objects. All are expressionistically rendered with extraordinary attention to the material nuances of the painted surface. In densely worked paintings, such as Pure Land (2012) and Untitled (2012), gnarled branches crisscross over dark terrain, accented with swaths of white, teal, violet and rose. Zeng's fictitious place is at once luminous and bleak, where unearthly bursts of vivid color are trapped in snaking brambles that obstruct yet hold the gaze. Filled with brushwork that is both refined and heavily textured, the thick surfaces underscore the physicality of Zeng's painting process. Against these haunting landscapes, the bare yet resilient trees that survive in such harsh conditions hold the promise of renewal and rebirth.

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BIBLIOGRAPHY

Books and Catalogues

2010: Weiss, Jeffrey. Brice Marden: Letters. New York: Matthew Marks Gallery, 2010.
2006: Garrels, Gary. Plane Image: A Brice Marden Retrospective. New York: The Museum of Modern Art, 2006.
2002: Kobayashi, Yotaro. Fuji Xerox Print Collection 1988 – 2002. Tokyo: Fuji Xerox Co., Ltd., 2002.
2000: Dickhoff, Wilfried. After Nihilism: Essays on Contemporary Art. New York: Cambridge University Press, 2000.
1999: Fischer, Peter, ed. Abstraction, gesture, écriture, Paintings from the Daros Collection. New York: Scalo, 1999.; Seidner, David. Artists’ Studios. Paris: Editions Assouline, 1999.; Siegel, Jeanne. Painting After Pollock. Amsterdam: Gordon and Breach Publishing, 1999.
1998: Kimmelman, Michael. Portraits: Talking with Artists at the Met, the Modern, the Louvre, and Elsewhere. New York: Random House, 1998.
1995: Lebensztejn, Jean-Claude. Ecrits sur l’art récent: Brice Marden, Malcolm Morley, Paul Sharits. Paris: Editions Aldines, 1995.
1996: Bann, Stephen. “A Cold Coming: Brice Marden’s Wager with Tradition.” In Robert Lehman Lectures on Contemporary Art No. 1, edited by Lynne Cooke and Karen Kelly. New York: Dia Center for the Arts, 1996.
1992: Kertess, Klaus. Brice Marden Paintings and Drawings. New York:; Harry N. Abrams, Inc., 1992.; Lewison, Jeremy. Brice Marden Prints 1961 – 1991, A Catalogue Raisonné. London: Tate Gallery Publications, 1992.; Richardson, Brenda. Brice Marden, Cold Mountain. Houston: Houston Fine Art Press, 1992.
1978: Nodelman, Sheldon. Marden, Novros, Rothko: Painting in the Age of Actuality. Houston: Institute for the Arts, Rice University, 1978.
2010: Letters with text by Jeffrey Weiss. New York: Matthew Marks Gallery, 2010.
2006: Paintings on Marble with text by Lisa Liebmann. New York: Matthew Marks Gallery, 2006.
2002: Attendants, Bears, and Rocks with text by Jean-Pierre Criqui. New York: Matthew Marks Galllery, 2002.
1997: Chinese Work with an interview and text by Jonathan Hay. New York: Matthew Marks Gallery, 1997.
1995: Brice Marden with text by David Rimanelli. New York: Matthew Marks Gallery, 1995.
1993: Paintings Drawings Etchings. New York: Matthew Marks Gallery, 1993.
1991: Cold Mountain Studies with text by Heiner Bastian. Munich, Paris, London: Schirmer/Mosel, 1991.; Recent Drawings and Etchings with an interview by Pat Steir. New York: Matthew Marks Gallery, 1991.
1984: Reporter’s Notebook: Drawings Made in Greece, Summer 1981. New York: Pace Gallery Publications, 1984.
1974: Suicide Notes. Lausanne, Switzerland: Editions des Massons s.a., 1974.
2011: Frederick, Jeff. “Letters from a Painter.” Art in America, January 2011, 98-101.
2010: "Brice Marden." The New Yorker, November 22, 2010, 34.; Collings, Matthew. "Kommt mal runter." Monopol, December 2010, 52-58.; Johnson, Ken. "Brice Marden." The New York Times, November 12, 2010, C30.
2009: Cotter, Holland. "Gaze East and Dream." The New York Times, January 30, 2009, C29 & C33.; Gómez, Edward. "Altered States." Art in America, April 2009, 59-65.; Singer, Fanny. "Marden." The Print Quarterly, June 2009, 195-198.; Solomon, Andrew. "The Third Mind." Artforum, September 2009, 286.
2007: Anfam, David. “Brice Marden.” Artforum, January 2007, 242-243.; Levin, Kim. “Brice Marden.” Art News, January 2007, 128.
2006: Marto, Karen. The Lay of the Land.” Culture & Travel, September/October 2006, 128-131.; Ofili, Chris with Brice Marden. “Painters Painting.” Artforum, October 2006, cover, 218, 225, 286.; Plagens, Peter. “An Old School Radical.” Newsweek, 30 October 2006, 58-59.; Rosenberg, Karen. “Taking the Long View.” New York Magazine, 4 - 11 September 2006, 62-64.; Saltz, Jerry. "The Brice is Right." Village Voice, 12 December 2006.; Schjeldahl, Peter. “True Colors.” The New Yorker, 6 November 2006, 130.; Smith, Roberta. “The Man Who Persevered When Painting Stalled.” The New York Times, 27 October 2006, 29, 32.; Stevens, Mark. “The Big Chill.” New York Magazine, 6 November 2006, 360-365.
2005: Glueck, Grace. “Art in Review; Theme and Variations.” The New York Times, 28 October 2005.
2004: Godfrey, Mark. “Dimensions Variable.” Frieze, August 2004, 117-121.; Karmel, Pepe. “The Year of Living Minimally.” Art in America, December 2004, 90-101, 149.; Loos, Ted. “Brush with Frame.” Town & Country, August 2004, 64.; Yau, John “Drawing a New Line.” Art on Paper, January/February 2004, 56-61.
2002: Aletti, Vince. “Best of 2002.” Artforum, December 2002, 112-113.; Baird, Daniel. “Attendants, Bears, and Rocks: Brice Marden at the Matthew Marks Gallery.” The Brooklyn Rail, August/September 2002, 10-11.; Burton, Johanna. “Brice Marden: Attendants, Bears, and Rocks.” Time Out New York, 13-20 June 2002, 56.; Bussagli, Marco. “In Vetrina le carte espressive di Marden” (The expressive work of Marden on view). Avvenire, 20 January 2002.; Clerici, Dedi Ferrari. “Un artista moderno nell’Antica Stamperia” (A modern Artist at the Antica Stamperia). Esperienza, February 2002.; Coen, Ester. “Marden, Alla ricerca della purezza con l’energia emotiva del segno” (Marden, A reevaluation of purity with the emotive energy of the line). La Repubblica, 21 January 2002.
2000: Baker, Kenneth. “Method to His Monochromes.” San Francisco Chronicle, 2 February 2000, sec. C, 1, 3.; “Brice Marden.” Das Kunstmagazin, December 2000, 26.; Cappellazzo, Amy. “A Modern Master Comes to Miami.” Ocean Drive, January 2000, 280-281.; Carroll, Sandi. “Marden Finds Life of Art a Joy.” New Smyrna Beach Observer, 26 January 2000, sec. 1, 1, 3A.; Cork, Richard. “Richard Cork’s Choice: Brice Marden.” The Times, 18 November 2000, 27.; Criqui, Jean-Pierre. “Handmade’s Tale, International Shorts Preview.” Artforum, September 2000, 77.; Cumming, Laura. “The Brice is Right: After a 20 Year Gap, Brice Marden’s Abstracts Go on Display in London. About Time.” The Observer, 19 November 2000, 10.; Dorment, Richard. “One Look and You Feel You Could Look Forever.” The Daily Telegraph, 15 November 2000, 26.; Glover, Michael. “Abstraction’s Rich Possibilities . . .” The Independent, 21 November 2000, 10.; Goedhuis, Michael. “Michael Goedhuis Talks to Brice Marden.” Asian Art News, March 2000, 16-18.; “Brice Marden, Works of the 1990s: Paintings, Drawings, and Prints (Hirshhorn Museum and Sculpture Garden.” Journal of the Print World (Summer 1999): 21.; Cohen, David. “New York and Washington: Brice Marden.” Burlington Magazine, August 1999, 504-506.; Cotter, Holland. “Monumental Pleasure in a Capital of Art Treasures.” The New York Times, 6 August 1999, sec. E, 37, 39.; Dietsch, Deborah K. “Forward Motion.” South Florida Sun-Sentinel, 19 December 1999, sec. D, 1, 10.; Koldehoff, Stefan. “Georg Baselitz, Cy Twombly, Brice Marden, Sigmar Polke.” Das Kunstmagazin, December 1999, 22-27.; Kutner, Janet. “Strokes of Genius.” Dallas Morning News, 12 February 1999, Guide, 57.
1998: Cotter, Holland. “Exhibitions in the Boston Area (Brice Marden at the Fogg Art Museum).” The New York Times, 7 August 1998, sec. E, 33.; Hayt, Elizabeth. “Brash American Intruders Amid l’Élégance.” The New York Times, 25 January 1998, 41, 46.; Mundy, Michael. “Mogul Home (Peter Morton).” W Magazine, October 1998, 374.; Tuchman, Phyllis. “Behind the Lines, The Art and Spirit of Brice Marden.” Bostonia, Spring 1998, 15-19.; Vogel, Carol. “Building a Collection (Whitney Museum of American Art).” The New York Times, 30 October 1998, sec. E, 32.; Bryson, Norman. “XLVII Venice Biennale.” Art/Text, November 1997 - January 1998, 32-35.; “Brice Marden (at Kunstverein, München).” Architectural Digest, June/July 1997.; “Brice Marden (at Matthew Marks Gallery).” The New Yorker, 9 June 1997, 24.; Gilbert-Rolfe, Jeremy. “Editor’s Choice, Brice Marden’s ‘The Muses’ at the Venice Biennale.” BOMB Magazine, Fall 1997, 18.; Gopnik, Adam. “The Repressionists.” The New Yorker, 14 July 1997, 86-88.; Reginato, James. “Marden’s Retreat.” W Magazine, November 1997, 246-253.; Shone, Richard. “Venice Biennale and Other Exhibitions.” Burlington Magazine, September 1997, 651-653.; Trepp, Judith. “Brice Marden, Winterthur Kunstmuseum.” Art News, November 1997, 241.; Desai, Vishakha N. “Reorienting Ourselves to Asian Art.” Art News, November 1996, 152.; Jones, Ronald. “Brice Marden.” Frieze, February 1996, 73-74.; Levin, Kim. “Brice Marden (at Matthew Marks Gallery).” Village Voice, 16 January 1996, 8.; Rosenblum, Robert. “Painters’ Drawings.” Architectural Digest, October 1996, 164.

EXHIBITIONS

# On going exhibitions

2013.01.01 - 2013.01.39
Gagosian Gallery: Geneva, Switzerland »

JANUARY 01 - JANUARY 20, 2013: Rachel Feinstein: The Complete Spot Paintings 1986–2011” precedes the first major museum retrospective of Hirst’s work opening at Tate Modern in London in April, 2012. »

# Up comming exhibitions »

AGORA GALLERY, New York, US
FEBRUARY 13 - MARS 01, 2013: Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. »

LEHMANN MAUPIN GALLERY, Paris, France
APRIL 01 - May 04, 2013: Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. »

JEN BEKMAN PROJECTS, Tokyo, Japan
June 13 - July 26, 2013: Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. »

# Older exhibitions »

CARLA SOZZANI, Milano, Italy
DECEMBER 04 - DECEMBER 16, 2012: Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. »

ZONKA & ZONKA, Rome, Italy
OCTOBER 02 - NOVEMBER 04, 2012: Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. »

SAATCHI GALLERY, LONDON, UK
JANUARY 13 - JANUARY 31, 2012: Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. »

SERPENTINE GALLERY, LONDON, UK
NOVEMBER 08 - NOVEMBER 30, 2012: Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. »

WELLMANS, STOCKHOLM, SWEDEN
FEBRUARY 16 - FEBRUARY 22, 2012: Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. »

BUKOWSKIS, STOCKHOLM, SWEDEN
MARS 13 - JUNE 31, 2011: Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. »

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