Brooklyn Rail's Barbara MacAdam reviews Femme Brut
Vogue's Grace Enquist interviews Jackie Saccoccio  

Jackie Saccoccio's Femme Brut and the Seduction of Abstraction

The New Yorker on Jackie Saccoccio: Femme Brut

A good abstract painting can seem inevitable—less made than materialized, like a Helen Frankenthaler stain or the squalls of Joan Mitchell. For thirty years, the American painter Jackie Saccoccio has been collaborating with chance on her compositions, pouring oil, scumbling dry pigment, dragging one canvas across another, and rattling, turning, and otherwise performing her surfaces until the results make the laws of gravity appear moot. In “Femme Brut,” Saccoccio’s new show in two parts (at Chart and at Van Doren Waxter, both opening on Jan. 22), the artist introduces an old-fashioned technique: drawing directly onto her paintings, with oil pastel, in furious cursive bursts. Several of these big, ambitious pieces, including “Le Puits Noir (Concave)” (above), allude to the landscapes of Gustave Courbet—a suggestion, perhaps, that the only distinction between realist and abstract is how an artist handles her paint.


TimeOut NY reviews Jackie Saccoccio: Femme Brut

Time Out says

All-over painting, 21st-century-style, is Jackie Saccoccio’s métier, and her latest efforts don’t disappoint. Her canvases are bold, vibrant and imposing, and are made by repeatedly turning or rotating the canvas while the colors are still wet. Layers of paint drip down and crisscross, as if applied by Jackson Pollock in slow motion. This two-venue exhibition is titled “Femme Brut,” an allusion to “Art Brut,” a termed coined by the postwar French painter Jean Dubuffet to describe outsider art, whose practitioners are driven by unbridled energy. The said could be said of Saccoccio, who calls her work “abstraction at full throttle.”

Jackie Saccoccio, “Femme Brut” is also on view at Chart Gallery, Jan 22–Mar 21

Femme Brut Solo exhibitions at Van Doren Waxter and Chart Gallery  New York, NY January 22 - March14, 2020

Van Doren Waxter www.vandorenwaxter.com and CHART, www.chartgallery.com

a new collaborative space in Tribeca opened by Clara Ha, are pleased to announce Jackie Saccoccio: Femme Brut, a two-venue exhibition of the American artist’s paintings, drawings, and prints to go on view at 23 East 73rd Street from January 22 to March 14, 2020 and at 74 Franklin Street from January 22 to March 21, 2020. Saccoccio is admired for her radiant abstractions and an expanding use of the canvas as a painting tool. Her adventurous body-aware practice and formal concerns align her with contemporary painters recognized for pushing the medium. A recipient of an American Academy in Rome Prize and a John Simon Guggenheim Memorial Foundation Fellowship, Saccoccio has exhibited continuously since her White Columns White Room debut in 2001.

An allusion to Jean Dubuffet’s “Art Brut,” his definition for raw, emotional work made outside of the academy, Saccoccio’s expansive, physical, and unapologetic Femme Brut is, for what the artist states as “abstraction at full throttle.” The works to go on view are characterized by a muscular urgency and evidence formal interests in space and scale. The unabashed bravado of the newest canvasses recall artist and art critic Thomas Micchelli’s comment that while Saccoccio’s work contains “echoes of Joan Mitchell and Helen Frankenthaler,” it is her “exploitation of every conceivable mode of applying paint” that “grounds the work in pure painting and distinguishes it as a post-painting phenomenon.”

Her most recent canvasses, all 2019, are characterized by globules, spheres, washes, and fictitious architecture, which she likens to the “explosive nature of a tempest,” a reference to Shakespeare’s tragedy that deals with storms, sorcery, and enchantment, such as a pair of epically scaled, highly activated oil and oil pastel on linen paintings measuring 130 x 94 inches.

Another works, La Source de la Loue, 114 x 94 inches, oil, oil pastel and mica on linen, returns to a favorite, Courbet’s painting of the same title, presenting a buoyant palette to his somber tones, while echoing his cavernous space absent of horizon line. Saccoccio cites his ability to convey both volume AND vacuum whether it be rock, cave, stag or pubis as her guide. Her subsequent 79 inch monotype paintings further ruminate on this solidity and transparency. The work emanates a menacing energy despite its layered passages of rose, lime, citrus orange, and bone that is at once warped and non-sensical, and as part of what Saccoccio describes as a “stage for a floating chrysalis.”

The artist draws inspiration from art history, contemporary practice, literature, and cinema and is known for an affecting body of chromatic large-scale, body-aware paintings, working in a mode that favors chance, gravity, time and control. She tips, drags, and shakes her paintings over one another, accumulating webs of space, manipulating them as prints, so that one serves as plate, the other as paper. The resulting orbicular centers reflect a conversation between the layers that include atomized color, painted and drawn, perspectival views of pixelation, printmaking and the results of her alchemical combinations.

Artadia Artist Spotlight:Jackie Saccoccio 

April Swanson of Artadia interviews Jackie Saccoccio, Artadia Nada Awardee 2015

https://artadia.org/news/awardee-spotlight-a-dialogue-with-jackie-saccoccio/ 

ART 021 SHANGHAI

Solo booth with The Club Tokyo at Art 021 Shanghai

November 2019

http://theclub.tokyo/en/artists/JackieSaccoccio/


TENNIS ELBOW at THE JOURNAL

October 5-11, 2019

The Journal Gallery 

45 Franklin Street

New York, NY 

Telephone +1 718 218 7148
Pulled In Brooklyn

April 4 - June15, 2019 

Curated by Roberta Wadell and Samantha Rippner with consulting printer Luther Davis.  
IPCNY highlights Brooklyn-based print shops

Take Up Space at Pizzuti Collection

Take Up Space presents abstraction as it travels across floors, hangs on walls, and is suspended above stairwells. Abstraction runs throughout this space, exploring and becoming territory. The works – mostly paintings – are results of artists’ projects that consider the relevance and power of abstraction’s possibilities.

The works in these galleries respond: to architecture, to history, to color, to taste, to edges, to time, and to our sociopolitical climate. They are explorations of form. They require us to notice their experimentation. They charge us to take the color, shapes, and scale of their structures into account.
Artists include: Sarah Cain, Johnny Abrahams, Lita Albuquerque, Zachary Armstrong, Sarah Crowner, Tomory Dodge, Tomashi Jackson, Pamela Jorden,  Odili Donald Odita, and Jackie Saccoccio.
Supported in part by a grant from the Greater Columbus Arts Council and the Ohio Arts Council.
September 8 - January 29, 2019

Solo exhibition at THE CLUB

Solo exhibition, opens at The Club, Tokyo, Japan September 8, 2018 

Surface Work : An international, cross-generational exhibition of women artists who have shaped and transformed, and continue to influence and expand, the language of abstract painting

Surface Work
11 April – 19 May 2018, Victoria Miro, Wharf Road, London N1 7RW
 
11 April – 16 June 2018, Victoria Miro Mayfair, 14 St George Street, London W1S 1FE
 
Taking place across Victoria Miro’s London galleries, this international, cross-generational exhibition is a celebration of women artists who have shaped and transformed, and continue to influence and expand, the language and definition of abstract painting.
More than 50 artists from North and South America, Europe, the Middle East and Asia are represented. The earliest work, by the Russian Constructivist Liubov Popova, was completed in 1918. The most recent, by contemporary artists including Adriana Varejão, Svenja Deininger and Elizabeth Neel, have been made especially for the exhibition. A number of the artists in the exhibition were born in the final decades of the nineteenth century, while the youngest, Beirut-based Dala Nasser, was born in 1990. Work from every decade between 1918 and 2018 is featured.
 
Surface Work takes its title from a quote by the Abstract Expressionist painter Joan Mitchell,who said: ‘Abstract is not a style. I simply want to make a surface work.’ The exhibition reflects the ways in which women have been at the heart of abstract art’s development over the past century, from those who propelled the language of abstraction forward, often with little recognition, to those who have built upon the legacy of earlier generations, using abstraction to open new paths to optical, emotional, cultural, and even political expression. Historical and contemporary works shown in dialogue will create a series of conversations across the decades, touching on themes such as the monochrome, process, geometric abstraction, seriality and gesture.
 
On display will be an example of Yayoi Kusama’s iconic Infinity Net paintings – seriality as a form of self-obliteration and self-definition – and a painting by the late US artist Mildred Thompson, who often found inspiration in scientific theories and universal systems, and whose buzzing palette of yellows and reds and calligraphic brushstrokes evoke the invisible forces of magnetic energy. These are complemented by a painting from the 1970s by Alma Thomas who in 1972, at the age of eighty, was the first African-American woman to receive a solo exhibition at the Whitney Museum of American Art, New York. For Thomas, colour was a way ‘to concentrate on beauty and happiness, rather than on man’s inhumanity to man.’
 
Contemporary artists such as Adriana Varejão, Bharti Kher and Howardena Pindell employ complex surfaces to engage with equally complex narratives and histories. A new ‘cracked tile’ work by Brazilian artist Adriana Varejão evokes the traditions of Minimalism and monochrome painting while its ruptured surface speaks of a disquieting colonial legacy. A work by Bharti Kher comprises a richly-painted board on which intricate patterns of bindis have been applied. Howardena Pindell, whose first major survey is currently on view at MCA Chicago, explores texture, colour, structure and process to address intersecting issues such as racism, feminism, violence and exploitation. Works on display from the 1970s by the artist have the appearance of vast, pointillist fields that, in part, recall African cloth made from pounded fibres and natural dyes.
 
Works from the era of Abstract Expressionism counter the idea of gesturalism as being an innately masculine language to reveal how, equally, it has been employed to engage with female sensibility and experience – in, for example, the work of Joan Mitchell, Lee Krasner and Helen Frankenthaler. These celebrated artists will be shown alongside under-recognised figures of their time, such as Hedda Sterne. An active member of the New York School of painters, Sterne was also one of the artists known as the ‘Irascibles’, who protested against the Metropolitan Museum of Art’s policy on American painting of the 1940s and who was included in a now iconic photograph for Life magazine in 1951; Sterne, notably, is the only woman in the image. Better known as one of the leading gallerists of the twentieth century, showing artists such as Mark Rothko, Jackson Pollock and Barnett Newman, Betty Parsons (who showed Sterne at her gallery in 1943) was also an abstract painter and sculptor who maintained a rigorous artistic practice. Now finding a receptive new audience, Parsons’ work reveals a mastery of spontaneity and improvisation, along with a profound interest in ancient and ethnographic arts.
 
The natural successors to these pioneering figures are international contemporary practitioners who embrace abstraction in their continuing quest to engage with history and articulate experience. The idea of gesture – both virtuosic and intimate, suggestive of landscape, the body, or more internalised visions – unites richly allusive works by artists such as Fiona Rae, Ilse D’Hollander, Rita Ackermann, Jackie Saccoccio, Louise Fishman, Varda Caivano and Martha Jungwirth.  
 
These allusions grow further still in work that expands upon the traditional definition of painting by engaging with walls, floors and architecture. Works by Lynda Benglis, Angela de la Cruz and Annie Morris,among others, occupy a productive, liminal space between painting and sculpture. Other artistsembrace ideas of chance, indeterminacy and temporality. Drawing upon the language of abstract expressionism as well as pagan history and folklore, British artist Jessica Warboys makes use of the sea and its actions upon mineral pigments in the creation of her large-scale work. Lebanese artist Dala Nasser employs unconventional materials such as liquid latex, brick pigment and dirt collected off the floor, on ‘grounds’ including tarpaulin and trauma blankets to create a body of work that, possessing an intricate physicality, speaks to the contemporary moment. Reframed and reinvigorated in new contexts, abstraction reveals itself to be as vital a force today as it was a century ago.
 
The exhibition includes: Rita Ackermann, Etel Adnan, Gillian Ayres, Sara Barker, Lynda Benglis, Suzanne Blank Redstone, Betty Blayton, Sandra Blow, Sarah Cain, Varda Caivano, Lygia Clark, Prunella Clough, Angela de la Cruz, Jay DeFeo, Svenja Deininger, Lucy Dodd, Louise Fishman, Helen Frankenthaler, Mary Heilmann, Ilse D’Hollander, Loie Hollowell, Tess Jaray, Martha Jungwirth, Bharti Kher, Lee Krasner, Yayoi Kusama, Joan Mitchell, Katy Moran, Annie Morris, Rebecca Morris, Victoria Morton, Elizabeth Murray, Dala Nasser, Elizabeth Neel, Tomie Ohtake, Betty Parsons, Howardena Pindell, Liubov Popova, Fiona Rae, Mary Ramsden, Dorothea Rockburne, Jackie Saccoccio, Mira Schendel, Yuko Shiraishi, Raphaela Simon, Pat Steir, Hedda Sterne, Alma Thomas, Mildred Thompson, Adriana Varejão, Paule Vézelay, Jessica Warboys and Mary Weatherford.
 
 
 

The New Yorker, May 1, 2017

The American painter Jackie Saccoccio's show "Sharp Objects & Apocalypse Confetti" at the 11R gallery through April 30, includes the riotiously beautiful Portrait (Nabokov), 2017. 

Jackie Saccoccio: Sharp Objects & Apocalypse Confetti

JACKIE SACCOCCIO
SHARP OBJECTS & APOCALYPSE CONFETTI
 March 30 – April 30, 2017
Reception: Thursday, March 30, 6 - 8 PM
11R, 195 Chrystie Street, New York, NY 10002

https://news.artnet.com/art-world/editors-picks-11-things-to-see-in-new-york-this-week-897584

https://www.timeout.com/newyork/art/jackie-saccoccio-sharp-objects-apocalypse-confetti 

 

MCA DNA: Riot Grrrls at Museum of Contemporary Art Chicago

MCA DNA : Riot Grrrls December 

Sexism continues to pervade the art world; male artists still garner the highest prices for their work and are disproportionately represented in exhibitions. In a challenge to the boys’ club sensibility that has historically shaped abstract painting, the eight female painters featured in the exhibition, which is named after the feminist hardcore punk movement that began in the 1990s, achieve mastery, innovation, and chutzpah in their brash and exciting paintings—without seeking external validation. 
In an effort to counteract inequality in the art world, the MCA consciously collects important work being made today regardless of its perceived value on the market. Riot Grrrls presents pioneering painters Mary Heilmann, Charline von Heyl, Judy Ledgerwood, and Joyce Pensato, as well as a younger generation of artists, including Molly Zuckerman-Hartung, Jackie Saccoccio and Amy Feldman. 
MCA DNA: Riot Grrrls is part of an ongoing exhibition series featuring iconic works from the MCA's collection. This exhibition is organized by Michael Darling, James W. Alsdorf Chief Curator at the Museum of Contemporary Art Chicago. 
The exhibition is presented in the Carol and Douglas Cohen Gallery and Stone Family Gallery, Ellen Stone Belic and Dr. Nenad Belic, Cynthia and Richard Raskin, Carole David Stone and James H. Stone on the museum’s fourth floor.

Jackie Saccoccio: DEGREE OF TILT


JACKIE SACCOCCIO: DEGREE OF TILT
 
September 9 – October 18 | 11R Eleven Rivington, 195 Chrystie Street, NY, NY 10002, Tel 212 982 1930
September 9 – October 23 | Van Doren Waxter, 23 East 73rd Street, NY, NY 10021, Tel 212 445 0444
 
New York Times
Published October 15, 2015 | Museum & Gallery Listings for Oct. 16-23
REVIEW: JACKIE SACCOCCIO: ‘DEGREE OF TILT’

By Roberta Smith
With sharp, inventive color combinations and a technique that involves more than you initially realize,
this artist belongs to a generation that is finding new ways to explore the convention of allover abstract painting. Alternately diaphanous and concrete, parts of her intricate compositions involveweaving together thin pours of paint while tilting the canvas at different angles. Hence the title of thisshow, which has an uptown component.

Interview with Artspace's Dylan Kerr

Painter Jackie Saccoccio on Her Endlessly Regenerating Abstract Portraits
By Dylan Kerr
Aug. 14, 2015
Artspace.com

Museo d'Arte Contemporanea Villa Croce, Genova, Italy

Opens January 18, 2014
Portrait Gallery

Solo museum exhibition curated by Ilaria Bonacossa

Jackie Saccoccio
PORTRAIT GALLERY
January 16, 2014 – March 9, 2014
Press preview: January 16, h. 11.30 -13.00
Opening: January 16, h. 18.30

Genova Palazzo Ducale
Fondazione per la Cultura – Ufficio Stampa
telefono +39 010 5574012/4047/4826
ufficiostampa@palazzoducale.genova.it
staffmostre@comune.genova.it