Floral Abundance: Part II
Hunter Dunbar Projects is pleased to announce Floral Abundance Part II, a group exhibition centering on modern and contemporary depictions of flowers. The second part of the presentation brings together work by Chase Barney, Elisabeth Condon, Marc Dennis, Lois Dodd, Lynne Drexler, Huê Thi Hoffmaster, Piper Lewine, Georgia Marsh, Tony Matelli, Alexandria Mento, John Newsom, Erik Parker, Eggert Pétursson, James Rosenquist, Julian Schnabel, Joan Snyder, and Sturtevant.
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Adrian BergThe Herbaceous Ground, Kew, 22nd September, 1997Oil on canvas14 x 18 1/8 in
35.6 x 46 cm -
Rita AckermannMama Study 47, 2021Oil and china marker on mono printed paper24 1/2 x 33 in. (62.23 x 83.82 cm)
Framed Dimensions:
30 /34 x 39 1/2 in. (78.11 x 100.33 cm) -
Adrian BergGlyndebourne, 1990Oil on canvas17 3/4 x 31 1/2 in (45.1 x 80 cm) -
Piper LewineEcho, 2024glass mosiac with custom built LED lightbox16 1/2 x 16 1/2 x 3 1/2 in
41.9 x 41.9 x 8.9 cm -
Piper LewineReflection, 2024glass mosiac with custom built LED lightbox16 1/2 x 16 1/2 x 3 1/2 in
41.9 x 41.9 x 8.9 cm -
Chase Barney, too much of a good thing is wonderful vase, 2023 -
Marc DennisJacob's Ladder, 2024Oil on linen54 x 37 in
137.2 x 94 cm -
John NewsomUniverse Within, 2023Oil and pigment on linen
53 1/4 x 44 1/4 in (135.3 x 112.4 cm) -
Joan SnyderFrom Grief To Spring, 2008Oil, acrylic, berries, cloth, burlap, paper mache, and pastel on linen72 x 96 in
182.9 x 243.8 cm -
James RosenquistWelcome to the Water Planet VI, 1988-1989Oil on canvas114 1/2 x 101 3/4 in. (290.8 x 258.4 cm) -
Lois DoddBlue Iris, 2013Oil on Masonite
17 x 15 1/8 in
43.2 x 38.4 cm -
Huê Thi HoffmasterTied Up in Knots No. 2, 2024Oil on canvas66 x 56 in
167.6 x 142.2 cm -
Lynne DrexlerAbloom, 1998Oil on canvas17 x 14 in. (43.2 x 35.6 cm)
Framed: 18 x 15 1/8 in. (45.7 x 38.4 cm) -
Alexandria MentoUntitled (Still Life With Vase), 2024Oil on canvas8 x 10 in
20.3 x 25.4 cm -
Georgia MarshStills II, 2021Watercolor on paper11 1/4 x 15 in
28.6 x 38.1 cm -
Georgia MarshStills I, 2021Watercolor on paper11 1/4 x 15 in
28.6 x 38.1 cm -
Georgia MarshStills III, 2021Watercolor on paper11 1/4 x 15 in
28.6 x 38.1 cm -
Georgia MarshStills VI, 2021Watercolor on paper11 1/4 x 15 in
28.6 x 38.1 cm -
Lynne DrexlerFloral Abundance, 1971oil on canvas36 x 42 in
91.4 x 106.7 cm -
Erik ParkerHeyday, 2024Acrylic on canvas45 x 40 in. (114.3 x 101.6 cm) -
Elaine SturtevantFlowersSilkscreen ink on canvas11 x 11 in. (27.9 x 27.9 cm) -
Elaine SturtevantStudy for Flowers, 1964-65Synthetic polymer paint and silkscreen ink on canvas
Artwork: 22 x 22 in (55.9 x 55.9 cm)
Framed: 23 15/16 x 23 15/16 in (60.8 x 60.8 cm) -
Elisabeth CondonTwo Sisters, 2024Ink and gouache on Fabriano 300 lb. paper roll
115 x 54 3/4 in
292.1 x 139.1 cm -
Julian SchnabelVictory After S-chanf I, 2021oil, plates, and Bondo on aluminum48" × 36" (121.9 cm × 91.4 cm) -
Eggert PéturssonUntitled, 2022-2023Oil on canvas74 3/4 x 76 3/4 in. (190 x 195 cm) -
Tony MatelliArrangement, 2023Painted bronze, stainless steel, epoxy,
25 1/2 x 24 x 18 in
64.8 x 61 x 45.7 cm
Hunter Dunbar Projects is pleased to announce Floral Abundance Part II, a group exhibition centering on modern and contemporary depictions of flowers. The second part of the presentation brings together work by Chase Barney, Elisabeth Condon, Marc Dennis, Lois Dodd, Lynne Drexler, Huê Thi Hoffmaster, Piper Lewine, Georgia Marsh, Tony Matelli, Alexandria Mento, John Newsom, Erik Parker, Eggert Pétursson, James Rosenquist, Julian Schnabel, Joan Snyder, and Sturtevant.
Since 16th century Dutch genre painting, images of flowers rich in symbolic content and striking beauty have held a unique fascination for artists. Van Gogh’s Sunflower series from 1888 and 1889 drastically modernized the subject matter by emphasizing the artist’s perspective and technical experimentation over lifelike realism. In the 20th century, still life painting became increasingly experiential, further eschewing a degree of verisimilitude as styles moved into both abstraction and subjective realism. Floral Abundance takes this moment as its point of departure.
Andy Warhol’s appropriation of a photograph of hibiscus flowers from Modern Photography magazine in 1964 paved the way for a postmodern approach to still life painting. In another brilliantly absurd postmodern gesture, Sturtevant created a ‘repetition’ of Warhol’s flower paintings using some of Warhol’s own silkscreens. James Rosenquist’s Welcome to the Water Planet VI (1988-1989) is a close-up view of petals and pistils with fragmented images of two women’s faces superimposed, a reimagining of the collage aesthetic that defined his large-scale paintings of the 1960s.
In Untitled (2022-2023) Eggert Pétursson emphasizes a contemporary perspective on still life painting. Pétursson’s painting presents a dense array of Icelandic flora that unites strikingly detailed brushwork with a wide-ranging palette. Huê Thi Hoffmaster and Tony Matelli build on the history of still life to create unique visions of flowers in both intimate and fantastical settings.
It is with deep enthusiasm we embark on this forthcoming exhibition, which illuminates the pivotal place still life painting holds in the imaginations of artists today, as centuries ago. Organized by Hayden Dunbar and Benjamin R. Hunter, the second part of the exhibit will be on view at Hunter Dunbar Projects from May 10 to June 21.
