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Solo exhibition of new paintings by Ann Craven opens at Maccarone
Tree (Purple Beech, Cushing, 8-22-13, 10PM), 2013. Oil on linen, 72 x 72 inches.
NEW YORK, NY.- Maccarone announces a solo exhibition of new paintings by Ann Craven. These paintings grew out of Craven's recent time in her Maine studio along the St Georges River.

2013 marks the eighteenth year of Craven's moon paintings. Craven paints small oil canvases by nocturnal observation - creating anywhere from one to ten paintings on a given night. In a process she regularly applies, Craven remakes a selection of these on larger canvases. This action of transferring and enlarging charts the distance between lived experience and recreation. The past is folded imperfectly into the present, sacrificing one notion of truth in pursuit of another.

A new subject for Craven is the purple beech tree. As with the moon paintings, Craven paints the tree at dusk or through the night. There are clear dichotomies between Craven's moon and tree: the moon forever shifts its shape behind a morphing shroud of cloud and atmosphere, emanating and reflecting light; the beech tree, represented in vibrating silhouette, goes nowhere in particular - a dark witness anchored to the ground, concealing and absorbing. Though pared toward abstraction, both moon and tree lose nothing of their potency by way of Craven's ardent brushstroke. These subjects summon the volatility of both micro- and macro-physical forms; they seem to describe as much a gigantic, silent explosion in outer space as they do a subatomic particle itching to burst open.

Although the paintings originate from diverse moments, their singular memories are fused together when presented in sequence. The repetition of subject bounces the eye between similar points in order to confirm their differences, favoring the prospect of the infinite over the sanctity of the original.

Craven's band paintings are diagonal strips of color laid down from the remaining paint on her palette after every moon and tree's completion. Here, we read the story of Craven's laboratory process in perpetual, leaning hues of hypnotic thickness; each band painting describes its kindred artwork, interlocking the entirety of Craven's project. The ticking bands of color further unbind her paint from the stasis of subject matter to form an evolving record of, in Craven's words, "the continuous just-past." - Blair Hansen, 2013





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November 9, 2013

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Antonio Berni's monumental "Juanito and Ramona" series presented at the Museum of Fine Arts, Houston

2013 Guggenheim International Gala celebrates James Turrell and Christopher Wool

Ann Beha Architects to design The New Britain Museum of American Art expansion

"Civil War Drawings from the Becker Collection" opens at the Frick Pittsburgh

Samuel Clifford Miller, Director Emeritus of the Newark Museum, dies at age 83

High-grade 1893-S Morgan Dollar realizes $235,000 to lead Heritage Auctions' coin event

Mitchell-Innes & Nash opens Leon Kossoff's first drawing survey in the United States

Newly renovated and reinstalled historic library at the Huntington opens to the public

"Heidi Wood: Setting for an Ordinary Life" opens at the Musée national Fernand Léger

The Broad at Michigan State University announces Alison Gass as new Deputy Director

New commissions by Alison Turnbull and Matt Calderwood on view at De La Warr Pavilion

Joana Vasconcelos' "Lusitana" on view at the Tel Aviv Museum of Art

Records fall as Norman Rockwell's "The Song of Bernadette" brings $605,000

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The Sky Inside: Laurence Miller Gallery presents DoDo Jin Mingâ's most recent series

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Solo exhibition of new paintings by Ann Craven opens at Maccarone

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