How did you first become acquainted with Jill Nathanson and her work?
When we started the gallery and were adding artists to our roster, a prominent art historian and critic suggested we visit Jill's studio. At first, we were doing a favor but then went to Jill's studio and were blown away by her work--and liked her, too! Soon thereafter, she was included in a group exhibition, and we saw how good her paintings looked on gallery walls. We knew we wanted to work with her and invited her to join the gallery.
Tell us about Jill's first solo show at the gallery.
Like museums, our gallery exhibition schedule is confirmed a minimum of one year in advance. Jill had time to create paintings and pick the best of the best in preparation for her solo show. She made paintings in various sizes--big and small--for our gallery walls. In my view as a gallerist, Jill's works encompass something for everyone, and we nearly sold out the show. She also received critical acclaim, as the show was reviewed by Piri Halasz in the New York Observer.
Why is Jill's work relevant today?
Jill takes the age-old tradition of painting and makes it modern. Her technical abilities in working and pouring paint are unrivaled. She has finessed her process over the years, and her signature style is unique. Needless to say, her color relationships are delicate and complicated all at once. She is working the tradition of great color artists like Paul Jenkins, Darby Bannard, Larry Poons, and Helen Frankenthaler.