METALLICA: Turn Up the Volume


J. Steven Manolis, METALLICA (Qatari Series), 2018, Acrylic on canvas, 60 x 96 inches (152.4 x 243.84 cm). Two panels, 60 x 48 inches (152.4 x 121.92 cm) each. 

SERIES PAINTING

Recently, my assistant, Coco De Salazar, and I established that the precise number of painting Series that I currently paint is 26 (painting Series outlined below). This includes 2018's first new Series, METALLICA.

My METALLICA Series has been a "long time coming." I've been thinking about it for nearly three years. As a colorist, I love the color impact of any single color fused with metallic paints. It is dramatic! I have concluded that in Phase One, my work in metallic paints will be executed in two sub-series, "More-is-More" ("MM") and "Less-is-More" ("LM").

"MM," (pictured above) allows me to paint monochromatically over a colorfield with emphasis on abstractly depicting places, thoughts, and moments of significant "color relevance" in my life. As an example, METALLICA (Qatari Series) depicts the regal, royal nature of the institutional and private settings I experienced when I was in Doha, Qatar a dozen years ago. It takes me back there!

"LM" (pictured below) consists of single JSM symbols (of various types) painted over a corrugated metallic colorfield. This painting is a simple concentric colorfield in two different gold hues, inspired by a double-concentric 2016 work in the REDWORLD Series (see image below) that received great critical acclaim and collector fanfare, and appears in both my REDWORLD book and Miami Design District's MAXALTO showroom. Based on this, I am focusing the simplicity of that work in concentric-based "LM" METALLICA paintings. "LM" goes in any decor style and any color room, impressively.

J. Steven Manolis, METALLICA Concentric (Bright + Renaissance), 2018, Acrylic on canvas, 60 x 96 inches 152.4 x 243.84 cm). Two panels, 60 x 48 inches (152.4 x 121.92 cm) each. 

J. Steven Manolis, Redworld Concentric, 2016, Acrylic on Canvas, 72 x 120 inches (182.88 x 304.8 cm). Two panels, 72 x 60 inches (182.88 x 152.4 cm) each. MAXALTO, Design District Miami, FL. Sargent Architectural Photography.

PABLO PICASSO & RICHARD DIEBENKORN, SERIES PAINTERS


Pablo Picasso is my most respected artist. He signed 100,000+ collectible works (paintings and sculptures) in his lifetime. Incredible! I do not think this record will be surpassed anytime soon. However, I would like you to know that I paint "eight days a week." Voluminous quantity and quality are painting goals of mine. Richard Diebenkorn, my favorite Series painter, is an artist idol of mine, and I strive to meet and exceed his Series standards. I love his Ocean Park Series (pictured below), which he painted many hundreds of times. So that you better understand my oeuvre, the 26 Series that I presently paint are listed below. I do not think that any Series artist has previously achieved such an extensive range.
 

J. STEVEN MANOLIS PAINTING SERIES LIST


I. COLORIFIC (1 - 8)

  • California Dreaming 
  • Orbs 
  • Color Matters 
  • South Pointe Park 
  • Palm Beach 
  • Palm Beach Light 
  • Surf's Up 
  • Biscayne Bay: Sun, Water, & Sky 

II. BLACK & WHITE (9 - 13)

  • Hurricane Series
  • Symphony Series
  • My Long March Journey (MLMJ) Series
  • More in More, and Less is More (MMLM) Series
  • Splash, Symbols, & Marks Series

III. MONOCHROMATIC (14 - 26)

  • REDWORLD 
  • Qatari Rhapsodies & Sonatas 
  • Splash 
  • BlueLand Splash 
  • PurpleFields 
  • Summer Solstice 
  • White on White
  • METALLICA 
  • Hamptons 27 
  • Happy Birthday America 
  • Flamingo 
  • Sunsets 
  • Prairie Moon 

IV. ONE-OFFS / COMMISSION WORK

 Richard Diebenkorn's 1975 work  Ocean Park #79  ,  features pastel blues, lavenders and aquas — and thin strips of deep red and green at the top to draw the viewer's gaze upward. The Estate of Richard Diebenkorn/Courtesy Philadelphia Museum of Art.

Richard Diebenkorn's 1975 work Ocean Park #79features pastel blues, lavenders and aquas — and thin strips of deep red and green at the top to draw the viewer's gaze upward. The Estate of Richard Diebenkorn/Courtesy Philadelphia Museum of Art.

I invite your inquiry to my website to analyze and understand my painting Series in greater depth.

A Giant Step into the New Year.... !


A GIANT STEP INTO THE YEAR ...! 

MANOLIS TO INSTALL ONE OF THE LARGEST PAINTINGS IN BROWARD COUNTY.

J. Steven Manolis, REDWORLD, 2018, Acrylic on canvas, 90 x 276 inches (228.6 x 701.04 cm).

January

  • We are delighted to announce that MANOLIS PROJECTS admitted to 1st Dibs. Expect to see all MP artists work listed here in the next two months. 
  • Unveiling of JSM’S new series, Metallica, 2018. 

February

  • Presentation/ Opening reception event at the Paramount building in Ft. Lauderdale, FL of REDWORLD, 2018, painting. This work measures 7.5 ft high X 23 ft long. This is my largest painting to date, and is perhaps the largest fine art work (except for NSU Museum) hung in Broward County, FL. 
  • Unveiling of JSM'S new 2018 Series: Qatari Rhapsodies - Sonata #1 (Acrylics and watercolors).
  • Qatari Rhapsodies installation at Qatar National Bank, Geneva, Switzerland.
  • Art Wynwood at Manolis Projects. VIP appointments only.
  • February 16th: JSM paintings exhibited at Cystic Fibrosis event in West Palm Beach, FL.

March

  • Corporate installation of JSM paintings in Raymond James, HQ, Coral Gables, FL.
  • Corporate installation of JSM paintings in EWM Realty International - Christie's International Realty, Coral Gables, FL. 
  • March 3rd: Manolis Project's Salon Artist, Jill Krutick's Studio/Gallery Grand Opening, Mamaroneck, NY. Moderator/tour guide: Bruce Helander. 

April

October 1st – October 31st

  • National Arts Club, NY, NY. A Joint Exhibition featuring Jill Krutick and J. Steven Manolis. "The Miami School of Abstract Expressionism," curated by Donald Kuspit, reviewed by Bruce Helander, leading legendary US art critics. Opening and closing reception details TBA. 

Art Basel 2018

  •  December 6th - 9th, 2018.

J. Steven Manolis, REDWORLD, 2018, Acrylic on canvas, 90 x 276 inches (228.6 x 701.04 cm). J. Steven Manolis stands in front of REDWORLD painting (to be installed at Paramount building, Ft. Lauderdale, FL), directly after completion of painting the four panels, 87 x 65 inches each, Manolis Projects, Miami, FL. 

First Out: 2018


 J. Steven Manolis, Black and White (Splashes, Symbols, and Marks), Acrylic on canvas, 2018, 60 x 72 inches

J. Steven Manolis, Black and White (Splashes, Symbols, and Marks), Acrylic on canvas, 2018, 60 x 72 inches

“Indeed, Manolis’ color-saturated abstractions breathe fresh life–fresh feeling–into abstract expressionism... He’s a modern master...” 
— Donald Kuspit
Donald Kuspit was the winner of the prestigious Frank Jewett Mather Award for Distinction in Art Criticism (1983) given by the College Art Association and is a Contributing Editor at Artforum,Artnet MagazineSculpture and Tema Celeste, and the editor of Art Criticism. He has doctorates in philosophy and art history, as well as degrees from Columbia, Yale and Pennsylvania State University. He has received fellowships from Fulbright Commission, NEA, Guggenheim Foundation and Asian Cultural Council, among others. Kuspit has written more than twenty books, including The End of Art (2004); Redeeming Art: Critical Reveries (2000); Idiosyncratic Identities: Artists at the End of the Avant-Garde (1996); Daniel Brush: Gold without Boundaries (with Ralph Esmerian and David Bennett, 1998); Reflections of Nature: Paintings by Joseph Raffael (with Amei Wallace, 1998); and Chihuly (1998). He has written numerous art reviews, including critiques on Hunt Slonem, Maurizio Cattelan and April Gornik.
 
ARTISTS COMMENTS

I have a tradition or call it a superstition; each year since 2014, the first Series and first work that  I always finish is a B&W!  My other self-imposed requirement is to create a “unique B&W Series style for that calendar year” that correlates to where my mind set and art career is at the time. It’s a unique interpretation of myself at that moment in time. I explore this all year long as my own form of self analysis.

Thus, each painting year, my B&W work has a descriptive sub-series name: 2014: Hurricane; 2015: Symphony; 2016: My Long March Journey (MLMJ); 2017: More-is-More & Less-is-More (MMLM) ; and now in 2018: Splashes, Symbols & Marks (SSM). 

The thinking behind my 2018 Series is this: over the last three years  I have derived and used Splashes, Symbols & Marks extensively in most of my works. Not only are they attractive (artist’s claim!), but through the “repetition method” these marks (and the way I apply and place them)  have become my unique artistic signature that defines and distinguishes ME as an Abstract Expressionist artist. I love the abstraction of colors and symbols in their endless array of possibilities and what they mean to me.

Every artist’s dream is to have the visual image of his work become his signature. If you think about the world’s most distinguished artists that is an attribute that EVERY highly accomplished artist achieves.  When you look at a Picasso you know it’s a Picasso and from which period. His style is his signature, just as much as his written name on the canvas. I feel I have quickly achieved my own signature style. As an aside, for other artists reading this, interestingly, it was never “a forethought” to be this way, but rather a “result of painting my mind and soul prolifically” that helped me find my own signature style. 

Another thought is also ever present: my desire to professionally excel, push boundaries, and set new “Communicating-Through-Color,” and abstract painting standards. 

BLACK & WHITE

Remember, please, that I consider Black & White a color in and of itself, and one of my three major painting categories.  These three are Colorific(many colors), Monochromatic, and Black & White; and, ALL my painting work falls into these three major categories . 

My first B&W 2018 work is composed of 1) a portfolio of my signature Splashes, Symbols and Marks, while 2) attempting to maximize the remaining white space on the canvas. On a micro basis, the work has two great upward pointing splashes (I find them uplifting), numerous concentrics (my symbols for social focus and total non-discrimination), chevals (Family oriented) , loops (universes of data), globes (defined subsets of mega-data) and my usual “JSM flotsam and jetsam”. More or less these Splashes, Symbols & Marks are present in all my works, no matter what Series and comprise the detail of what is me as an artist.  However, each year’s B&W paintings have a different feel, a different energy.

Another attribute that warrants mentioning is that I always attempt, no matter how simple or complex, or how symmetric or asymmetric the work... to achieve “Visual Balance” in every painting... meaning that if you put a color pin in the exact bottom of the middle of the painting it would perfectly color BALANCE and not move at all (allegorically think of the old time scales, with weights in one bin and commodities (sugar, flour, salt) sold in the other bin, loaded until the exact balance is achieved by weight. 

This new 2018 painting achieves this esthetic balance, despite total colorfield asymmetry.  I hope when you see this work you can recognize with 100% certainty, “Oh, that’s a J.Steven Manolis,” ...and moreover for expert followers, “It was painted in 2018, because that is the year he did B&W's in the form of: Splashes, Symbols & Marks."
 J. Steven Manolis,   Black & White (MLMJ), 2016 ,  Acrylic on canvas, 60 x 72 inches (152.4 x 182.88 cm). 2 panels, 60 x 36 inches (152.4 x 91.44 cm) each. Framed: 62 x 74 inches (157.48 x 187.96 cm). 60.72.02. Collection of Susan and Robert W. Burnett.

J. Steven Manolis, Black & White (MLMJ), 2016Acrylic on canvas, 60 x 72 inches (152.4 x 182.88 cm). 2 panels, 60 x 36 inches (152.4 x 91.44 cm) each. Framed: 62 x 74 inches (157.48 x 187.96 cm). 60.72.02. Collection of Susan and Robert W. Burnett.

 J. Steven Manolis,   White on White (on Black), 2017,   Acrylic on canvas, 52 x 168 inches (132.08 x 426.72 cm). Three panels, 52 x 56 inches (132.08 x 142.24 cm) each. For sale at Manolis Projects, Miami, FL. 

J. Steven Manolis, White on White (on Black), 2017, Acrylic on canvas, 52 x 168 inches (132.08 x 426.72 cm). Three panels, 52 x 56 inches (132.08 x 142.24 cm) each. For sale at Manolis Projects, Miami, FL. 

 "In Situation" (INSITU); Displayed in a B&B Italia Maxalto modern living room environment. Note: Modern design and scale parameters dictate that paintings should always be modestly wider than the foreground furniture. This is a major departure from previous generation's stylistic dictums. I commission works in order to achieve exact and perfect proportions. My Black & White is among my most commercial Series. It is neutral in color and goes in any color setting and any furniture style. Indeed, if a modern B&W is placed in a purely traditional environment, it transforms the look to modern and eclectic. Ironically, it is also the least expensive way achieve modernity. 

"In Situation" (INSITU); Displayed in a B&B Italia Maxalto modern living room environment. Note: Modern design and scale parameters dictate that paintings should always be modestly wider than the foreground furniture. This is a major departure from previous generation's stylistic dictums. I commission works in order to achieve exact and perfect proportions. My Black & White is among my most commercial Series. It is neutral in color and goes in any color setting and any furniture style. Indeed, if a modern B&W is placed in a purely traditional environment, it transforms the look to modern and eclectic. Ironically, it is also the least expensive way achieve modernity. 

Au Revoir 2017!


LOOKING BACK; 
REVELING FORWARD!!

 

J. Steven Manolis in front of BlueLand Splash, 2016, Acrylic on canvas, 96 x 144 inches.

NOW
At age sixty-nine, one of the benefits of "old age" is the ability to look backwards and put current events in some sort of a historical perspective. Mailers like this one shoot for brevity, so let me make a comparison that will speak legions: I think we are living in the most tumultuous, capricious, and polarizing times since the 1960's. As an optimist, I feel that the ingenious nature of mankind and our innate ability to solve problems, persevere, and find happiness and serenity is unbounded and I have great confidence in the future

J. Steven Manolis' Solo Exhibition Show, "Painting Vermillion Red," at the John A. Day Gallery in the Warren M. Lee Center for Fine Arts, USD, Vermillion, South Dakota.

2017 EVENTS AND ACCOMPLISHMENTS
2017 was a whirlwind of activity for me. Two solo museum exhibitions (Coral Springs Museum of Art and University of South Dakota), six art books, two Manolis Projects gallery openings (Art Wynwood and Art Basel Miami), three corporate art installations (MAXALTO, Raymond James and Torre Development), a University of South Dakota ("USD") gifting of seven heroic-scale REDWORLD works "permanently hung on campus," the honorary homecoming parade Grand Marshall award title at my undergraduate alma mater USD, The Center for Creative Education group show "Three Amigos + Jill Krutick" (Bruce Helander, J. Steven Manolis, Miles Slater), a plethora of magazine articles (the cover of Where Magazine and Where Guestbooks, Four Seasons Magazine, The Society of Four Arts Season Programs Magazine) the introduction of my first artist signed, Limited Edition prints, the reformation of Florida's most exclusive, largest (and only) Artist Salon, Manolis Projects, and other events and accomplishments amounted to a truly remarkable year. As proud as I am of the sheer volume, it's unlikely I will ever have a year with this many activities and events again. So I am enjoying looking backwards.

J. Steven Manolis on the cover of Where Magazine, Art Basel Miami Edition 2017.

KUDOS TO... 
Truth be told, no individual can achieve this solo. What is required is a supporting Team with a vision, the energy, and drive to make it happen. All thanks to my extraordinary third party team: Bruce Helander, Susan Hall, Karene Teleska, Dan Ellis, Joseph McCandless, Kim Sargent, Alex Vignoli, Lisa Heard, die Keure Printing & Publishing (Brugge, Belgium), Aurelia Majorel, and all the members of the Manolis Projects Artist Salon! Internally, extreme thanks go to Myrthia Natalie Moore, Coco De Salazar, Patrick Simpson, Kathya Salgado, and Juan Menbreno. 

PROPULSION
The "wind in my art sails" comes from six extraordinary art luminaries whose ten plus essays on my work has proven simply invaluable; Dr. Annette Blaugrund, Elizabeth Sobieski, Anthony Haden-Guest, Bruce Helander, Donald Kuspit, and Dr. Larry Schou. Words cannot describe the pride nor thanks I feel towards these ultimate professionals. Indeed, my record production and sales would NOT have occurred without them. No one recognizes nor appreciates these critics more than myself. If you have not read their essays, each are posted on my website and I invite you to enjoy them.

COLLECTORS
Importantly, I thank my Collectors. They constitute the critical mass of clients that motivate and propel me to paint joyously seven days a week. The most gratifying aspect of 2017 for me was to read their "for attribution" collector quotes.

FAMILY AND FRIENDS
Finally and most importantly, I would like to extend my heartfelt appreciation to my partner in life, children, family and friends for their love, support and belief in me to accomplish my dream. 

2018
My remaining life's mission is to COMMUNICATE WITH COLOR like no other artist ever has! In the first week of 2018, my first monthly MP Art Newsletter will discuss a most exciting upcoming art year. Here's what I say: "Always live in REDWORLD!" I wish you all a happy, healthy New Year 2018!Please come visit me at Manolis Projects for a very special experience in the new year.

J. Steven Manolis, Redworld Self Portrait Quadriptych, 2017, Acrylic on canvas, Four diptychs, 144 x 192 inches (365.76 x 487.68 cm). Each diptych: 72 x 96 inches (182.88 x 243.84 cm), Two panels, 72 x 48 inches (182.88 x 121.92 cm) each. Framed: 150 x 198 inches (381 x 502.92 cm).