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Debra Drexler"Golden Haze" Large Scale Contemporary Abstract Painting (gold, blues, violets)2018
2018
$16,000
£11,949.49
€13,865.60
CA$22,160.11
A$24,841.31
CHF 12,954.18
MX$304,493.81
NOK 164,151.21
SEK 156,063.72
DKK 103,455.35
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About the Item
60"x84" (signed on reverse) Golden yellow, blue and violet forms are layered in this large scale abstract painting by New York/Hawaii artist, Debra Drexler. This painting is infused with color and light, with transparencies of color overlaid with voluminous impasto shapes.
Debra Drexler is an American painter, installation artist, curator and professor. Her work engages in a feminist conversation with the history of action painting, which is informed both by participating in the contemporary resurgence of abstraction coming out of New York, and by living in the Post Colonial Pacific for close to three decades. She has participated in over thirty solo and over 100 group exhibitions in national and international venues. Debra Drexler is represented by Front Room Gallery in New York.
Recent solo exhibits include: Van Der Plas Gallery, The Majestic Theater curated by The Dorado Project in Jersey City, White Box-The Annex, Pool Art Fair at the Chelsea Hotel, Blue Mountain Gallery, HP Garcia Gallery and Java Studios Gallery. In addition, Drexler has exhibited in group exhibitions in New York including Front Room Gallery, The Drawing Center, Denise Bibro Gallery, Exit Art, Art Finance Partners, Stephan Stoyanov Gallery and Sideshow Gallery. She was a featured artist in Salon Zucher, The 11 Women of Spirit and currently is featured in a three person show, “Abstract x3,” Schaefer International Gallery, Maui Arts and Cultural Center, Kahului, HI.
She maintains studios in Brooklyn, NY and on the island of Oahu in Hawai’i. Debra Drexler's most recent work is highly experimental large-scale abstract painting. In a recent review of a two-person exhibition at Gallery Gary Giordano (Whitehot Magazine) Drexler's work as clearly referencing the long tradition of American abstraction and the established legacy of the New York School. The reviewer, Jonathan Goodman, described the work as a “new non-objectivity” that comes out of the current moment. He states that Drexler's painting “quite accurately describes the spirit of abstract art today, in which painting is struggling to break free of the constraints of time."
Debra Drexler is a Professor at the University of Hawaii, where she is Chair of the Drawing and Painting Area. She has had solo exhibitions in Hawai’i at The Honolulu Museum and Maui Arts and Cultural Center. In October, 2015 she co-curated with Liam Davis New New York at the University of Hawai’i Gallery, a survey examining the resurgence of contemporary abstract painting featuring the work of 30 internationally recognized artists. New New York traveled to The Curator Gallery in Chelsea in 2017. She has also curated exhibits in New York including at The Lab of Rogersmith Arts, as well as in Hawai’i and Australia.
Debra Drexler
Debra Drexler is an American painter, installation artist, curator and professor. Her work engages in a feminist conversation with the history of action painting, which is informed both by participating in the contemporary resurgence of abstraction coming out of New York, and by living in the Post Colonial Pacific for close to three decades. She has participated in over thirty solo and over 100 group exhibitions in national and international venues. Debra Drexler is represented by Front Room Gallery in New York. Recent solo exhibits include: Van Der Plas Gallery, The Majestic Theater curated by The Dorado Project in Jersey City, White Box-The Annex, Pool Art Fair at the Chelsea Hotel, Blue Mountain Gallery, HP Garcia Gallery and Java Studios Gallery. In addition, Drexler has exhibited in group exhibitions in New York including Front Room Gallery, The Drawing Center, Denise Bibro Gallery, Exit Art, Art Finance Partners, Stephan Stoyanov Gallery and Sideshow Gallery. She was a featured artist in Salon Zucher, The 11 Women of Spirit and currently is featured in a three person show, “Abstract x3,” Schaefer International Gallery, Maui Arts and Cultural Center, Kahului, HI. She maintains studios in Brooklyn, NY and on the island of Oahu in Hawai’i. Debra Drexler's most recent work is highly experimental large-scale abstract painting. In a recent review of a two-person exhibition at Gallery Gary Giordano (Whitehot Magazine) Drexler's work as clearly referencing the long tradition of American abstraction and the established legacy of the New York School. The reviewer, Jonathan Goodman, described the work as a “new non-objectivity” that comes out of the current moment. He states that Drexler's painting “quite accurately describes the spirit of abstract art today, in which painting is struggling to break free of the constraints of time." Debra Drexler is a Professor at the University of Hawaii, where she is Chair of the Drawing and Painting Area. She has had solo exhibitions in Hawai’i at The Honolulu Museum and Maui Arts and Cultural Center. In October, 2015 she co-curated with Liam Davis New New York at the University of Hawai’i Gallery, a survey examining the resurgence of contemporary abstract painting featuring the work of 30 internationally recognized artists. New New York traveled to The Curator Gallery in Chelsea in 2017. She has also curated exhibits in New York including at The Lab of Rogersmith Arts, as well as in Hawai’i and Australia.
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By Debra Drexler
Located in New York, NY
60"x48" abstract composition in golden yellow with lavender, violet and light cream. Large gestural movements overlay one and other on the on canvas. The painting surface incorporates impasto brushwork and poured paint to give an active composition. This painting is signed on reverse by the artist, Debra Drexler.
Debra Drexler maintains studios in both New York and Oahu, Hawaii, and her work is informed by her unique bi-coastal experience. In her luminous, large-scale abstract paintings, she brings the transcendent experience of the Hawaiian landscape to a New York audience. Through her New York based studio and curatorial practices, she is also deeply engaged in critical conversation surrounding new abstraction. She states “Abstraction takes us to a state of timelessness that is primal in its humanity, disconnecting us momentarily from the mediated “now” of our electronic devices, and connecting us to a “now” that gives us a glimpse of the infinite. While our insistent digital projections can take us away from both our animal and spiritual nature, abstract painting reminds us again of what it means to be human. The corporality of the paint mirrors the flesh of the body and transports us into the timeless.”
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