Maureen Gallace

About

The group of new paintings Gallace has selected for the show depict carefully adjusted visions of the houses and landscapes that she has visited and reimagined as a subject over many years. Focusing her attention on specific aspects of the weather, the beach shore, architectural details and plants that grow in these areas - Gallace’s oil paintings are realized with wet-on-wet brushwork into formal compositions and completed on small wooden panels.

‘Gallace’s filtering of detail doesn’t follow an Impressionist’s logic of light and distance; it’s a product of her own compelling algorithm… While many artists devote a lifetime to the potentially breathtaking project of minor variation within sharp constraints, the enduring, unpinpointable coolness of Gallace’s work always makes one wonder if there is not an element of durational performance in her persistence. ’

Johanna Fateman, artforum.com, September 2015.

'Besides suggesting kinships to Edward Hopper’s scenes of solitude and the meditative still-lifes of the Italian modern master Giorgio Morandi, Gallace’s way of painting—it hardly seems a style—has affinities with a New York tradition of painterly realism that was developed in the nineteen-fifties by Fairfield Porter…’

Peter Schjeldahl, ‘America At The Edges’, The New Yorker, October 19, 2015.

Maureen Gallace lives and works in New York and has been exhibited internationally, including solo exhibitions at La Conservera, Murcia, Spain, 2011; The Art Institute of Chicago, 2006; Douglas Hyde Gallery, Dublin, 2004; Dallas Museum of Art, 2003; and Museum Schloss-Hardenberg, Velbert, Germany, 1996. Group shows in which she has participated include September 11, MoMA PS1, New York, 2011; Whitney Biennial 2010, New York; and Ideal Standard Life at Spiral/Wacoal Art Center, Tokyo, 1996. Gallace’s paintings are included in the collections of the Whitney Museum of American Art, the Art Institute of Chicago, Dallas Museum of Art, Wadsworth Atheneum, and the Fondazione Di Vignola, Italy, among others.