
Untitled, 2017
Oil on board
6 5/8 x 9 1/8 inches
Garth Greenan Gallery is pleased to announce Victoria Gitman: Taktisch, an exhibition of paintings at 545 West 20th Street. Opening on January 11, 2018, the exhibition is the artist’s first since her recent retrospective at the Pérez Art Museum Miami. Eight of Gitman’s astonishingly naturalistic paintings will be on view all created between 2016 and 2017.
The exhibition focuses on Gitman’s recent paintings—meticulously rendered abstractions based on the supple fur surfaces of vintage handbags. Gitman works in oils, hair by hair, creating surfaces that are delicately painted from close, direct observation. Many of the paintings feature abstract patterns evocative of early and mid-twentieth-century stylistic traditions. Evoking modernist compositional techniques, Gitman’s new works are resolutely frontal, their imagery extending edge-to-edge. Each composition is tightly cropped, further intensifying both the haptic quality and the inherent sensuousness of the artist’s chosen subjects.
The title of the exhibition is a neologism introduced by Vienna School art historian Aloïs Riegl to describe a kind of close-up perception or “visual touching.” Taktisch can at once signify “tactile,” “tangible,” “palpable,” or “textural,” as well as “tactical.” It implies an intimate exchange with art objects, an intermingling of the experiences of seeing, feeling, and knowing through sensory perception.
Born in Buenos Aires, Argentina, in 1972, Victoria Gitman immigrated to the United States in 1987. In 1996, she graduated from Florida International University with a BFA in painting. She has had solo-exhibitions at Daniel Weinberg Gallery (2004, 2006, 2009, Los Angeles), David Nolan Gallery (2006, 2011, New York), and Tomio Koyama Gallery (2014, Tokyo). In 2005, the Bass Museum of Art, Miami, mounted On Display, Gitman’s first museum exhibition. Three years later, Looking Closely, a solo exhibition of paintings and drawings, opened at the Las Vegas Art Museum. Finally, in 2015, the Pérez Art Museum Miami presented a survey of the artist's work, titled Victoria Gitman: Desiring Eye.
Gitman’s work is featured in the collections of many museums, including the Columbus Museum of Art, Ohio; the Detroit Institute of Arts; the Los Angeles County Museum of Art; the Museum of Contemporary Art, San Diego; the Museum of Modern Art; the Pérez Art Museum Miami; and the Whitney Museum of American Art, New York.
Garth Greenan Gallery is pleased to represent Victoria Gitman.
Victoria Gitman: Taktisch will be on view at Garth Greenan Gallery, 545 West 20th Street (between Tenth and Eleventh Avenues), through Saturday, February 17, 2018. The gallery is open Tuesday through Saturday, 11:00 a.m. to 6:00 p.m. For more information, please contact the gallery at (212) 929-1351, or email info@garthgreenan.com.
Upon walking into Garth Greenan Gallery in Chelsea, your first instinct may be to walk up to one of Victoria Gitman’s canvases and place your hand onto it, rubbing your palm back forth, just like you would to a fluffy dog, or an especially furry blanket. These canvases are not covered in fur, however, but oil paints, and palming one will only get you kicked to the curb.
The most compelling part of Victoria Gitman’s fantastic exhibition at the Garth Greenan Gallery is the way her paintings glow. Her eight new pictures — all highly naturalistic, close-up depictions of purses and handbags — radiate with bright colors and jarring juxtapositions. In one work, alongside a fuzzy pattern of alternating black and white fur, there is an explosive field of lush, neon green that overwhelms the picture. In another, eighteen strips of fur — one in fuschia, another in rich, golden brown, all anchored by a central strip of luminous, radioactive yellow — burst off the wood panel they’re painted on. The finest painting in the show has two patches of white fur surrounding one of deep blue, which is set back in space as if it’s emerging from behind two curtains.