Jan-Ole Schiemann

Jan-Ole Schiemann utilizes a segmented compositional structure to annotate different modes of mark marking. The artist makes extensive use of pastiche within the gaps of the picture plane, in a process that disconnects signs from the literalness of representation. Each canvas relies on a Cartesian x-y axis, often employing a striping motif that invites parallels with artists as various as Matisse and Robert Motherwell, while also contextualizing each painting as a series of positions. 

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Now in its third edition, the Marfa Invitational art fair brings together galleries, artists, and collectors to the remote desert town of Marfa, Texas. Part of the Big Bend, Marfa was established in 1880 as a water railway stop, then as a border trading outpost, and eventually becoming a military base. In 1971, Donald Judd relocated his artistic practice from New York to Marfa, setting up his home and studio in the former military base. Subsequently, Marfa became a hub for minimalist art. Marfa Invitational presents a wide range of art from outsider and folk art to sculpture, public installations, performances and contemporary art.

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Nino Mier Gallery will present four group exhibitions featuring artists on their gallery roster, each on view for only one day at the gallery. While it’s common to replace artworks daily at art fairs as works are sold, Nino Mier’s pre-planned exhibitions allow for conversations to emerge between their artists, whose work becomes recontextualized with each curated display. 

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The 37th iteration of Art Brussels, now impressively ensconced in the spectacular Tour & Taxis, the former Royal Customs House, opened to a V.I.P crowd on April 25, and with its high glass roof and industrial proportions, the fair’s 148 participating galleries had a great concrete canvas to work with.

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This year for our 37th edition, Art Brussels continues to be pivotal to the development of the city’s dynamic art scene.

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Now on view at New York space Kasmin Gallery, artist Cologne-based artist Jan-Ole Schiemann is mounting a debut solo exhibition, bringing with him a collection of new paintings that see the artist continuing to revel in both gestural abstraction and the history of 20th-century animation, aspects that combine to imbue his work with a rare sense of kinetic energy.

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“We are exploring how artists are expanding the concept of abstraction to reflect the contemporary world,” Deitch said, not one to spoil the surprise. “A number of the artists in the show work on the boundary between abstraction and representation.” All will be revealed when “Abstract / Not Abstract” lets in its first visitors the morning of December 6. Glean what you can from the artist list below, which is still growing and evolving.

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Walking into Mier Gallery in West Hollywood on a sunny day in late December, I couldn’t help but notice that Cologne-based painter Jan-Ole Schiemann wearing a shirt that matched his work: lines and shapes flowing in every direction, like a shattered ice sheet in the Arctic Sea.

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He’s a Cologne-based artist that uses multiple layers of ink, then acrylic to give it depth. 

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NADA has returned to its now familiar haunt at the Basketball City sports complex at Pier 36, continuing its more relaxed counterpoint to the proceedings at Frieze just a short ferry ride up the East River. The fair, which is now in its fifth year, has continued to pioneer its own take on early May’s bustling selection of shows and exhibitions, and continued its strong performance this year with a roster of 105 Galleries and a diverse selection of works on display. 

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During the micro-cyclone of art shows, apocalyptic ferry rides, and island-induced mental breakdowns of Frieze Week in New York, there is a small voice in our heads helping us along the way, whispering: Just hold on, you’re coming home. Yes, that voice is Drake, and yes, he’s speaking to you over the PA system at Basketball City, the actually-accessible East River pier that’s home to the New Art Dealers Association art fair this weekend, where all your friends are waiting.

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I first saw this young German painter’s work at EXPO Chicago, where LA-based MIER Gallery gave him a solo outing. The paintings, made with ink on unprimed linen, are all based on gestural moments borrowed from early “Betty Boop” films — a quirky genesis, but one that you don’t need any clue about in order to appreciate the squiggly, kinetic energy of the works.

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A German painter who lives and works in Cologne, Jan-Ole Schiemann makes his New York solo debut with a new series of abstract paintings and drawings inspired by the cartoons of Max Fleischer, creator of Betty Boop.

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…I also seriously covet Mier Gallery’s graphite drawings by Cologne-based Jan-Ole Schiemann, which, culling their imagery from abstract shapes and forms in 1930s Bettie Boop movies, have the energy of comic-book pages with all the players removed and only the explosive remnants of the action left behind.

Kurz vor Jahresende präsentierten die Kölner Galeristen Alexander Warhus und Luisa Rittershaus in den ehemaligen Räumen der Galerie Zwirner, dem heutigen Projektraum WERTHEIM eine bemerkenswerte Malerei-Ausstellung. Die 10tägige Schau zeigte Werke junger, im Rheinland lebender Künstler, denen, neben den kuratorisch festgelegten, nahezu gleich großen Bildformaten eines gemeinsam war: die Abstraktion. Doch wieso begeistern sich junge Künstler heute für die Abstraktion? Und was fasziniert ihre Sammler? 

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