In Joanne Freeman’s works, a richness of color, specificity of light, and a languid sense of movement arise naturally from the painting process.
Michael Rutherford interviews painter Leslie Bell about his work and process. Bell remarks: "The history of painterly expression goes back to the caves but skips generations along the way. The pendulum swings…loose; tight; loose; tight. What excites me most is a dynamic combination of description and expression. I remember as a little kid marveling at […]
Michael Rutherford interviews painter Steven Cox about his work and process. Cox remarks: "At base, I am influenced by the notion of temporality, where the inevitability of change unpredictably alters the appearance and formation of an item. I tend to apply this understanding of temporality to how I approach the making of my work whilst […]
Michael Rutherford interviews artist Guy Corriero about his work. Corriero, who makes both painting and sculpture, says of his paintings: "I have been building my paintings the same way for a long time; hand-made, irregular rectangles cut from 1/8" poplar sheets with a frame-type edge glued on, then layering them with many coats traditional gesso […]
Jonathan Chapline and Lorraine Nam visit Trudy Benson's studio on the occasion of her solo exhibition Paint at Horton Gallery, New York, on view from April 25 – June 2 , 2013. Benson discusses her process: "For the most part for these paintings, I feel like they are a collage of different painting moves and I […]
Michael Rutherford interviews painter Robert Janitz about his work. Rutherford's introduction begins: "Paint on canvas and their combined affect on a viewer are what painting is all about. I can’t help but admire an artist who uses those materials in a bold matter-of-fact way, and the paintings of Robert Janitz are exactly what I mean. […]
Margaret McCann interviews painter Megan Marlatt.
Michael Rutherford interviews painter Amanda Friedman about her work and studio practice. Friedman's work was recently on view at Eli Ping, New York. Rutherford writes that "the expansive, sprawling swaths of paper that Amanda Friedman refers to as Thought-forms have pulled me into their orbit and provided plenty to think about. The painted surfaces, existing […]
Michael Rutherford talks to painter Jonathan Allmaier about his work. Allmaier comments: "I think the key to letting the paintings make themselves is to regard the materials, along with their contingent circumstances (and it’s silly to think of circumstances as separable from an object anyway) as mental states, without distinction from a particular physical state. […]
Jonathan Chapline and Lorraine Nam visit the studio of painter Michael Aitken. Asked about his process Aitken remarks that "a lot of the paintings are begun intuitively. I’d say by about one third of the way in, I’ll make a move that decides the direction of the piece, and from there I’ll pull in imagery […]
Trent Miller’s presents his highly-complex and personal vision through paintings and drawings in which the observed world and that of the imagination harmoniously coexist.
Studio visit and interview with painter Collin Hatton. Hatton comments on his interest in the "interaction between the materiality and the image interacting and fusing together in some way. I think a big part of these paintings is treating them, treating the paintings as images as well as objects and how those objects react in […]
Michael Rutherford interviews painter Farrell Brickhouse about his work and process. Brickhouse comments: "One question I ask when entering the studio is, 'what needs to be said, what can my art contain?' My studio time is not unique, it runs the whole gamut: from the workman-like strokes that one makes until something more significant can […]
Jonathan Chapline and Lorraine Nam visit the Chelsea studio of painter Mary Jones. Jones comments that in her paintings "there’s an implied figure and it’s usually sort of a very ancient prehistoric Greek Cycladic reference. I wanted to reference something prehistoric and from the beginning of human history to sort of connect with that primal […]
In works rich in both allusion and painterly craft, McCann merges careful observation, popular culture, and an encyclopedic knowledge of the tradition of painting.
Michael Rutherford interviews painter Jim Lee about his work and process. Lee comments: "For me, it’s just about working with my materials and trying to understand how to transition from one to the next, incorporating the physical vs. the visual. Whether its pieces of wood, a slice of linen, graphite marks, oil, latex paints, rubber, […]
Michael Rutherford talks to artist Maria Walker about her work. Rutherford writes: "Altered stretcher bars, torqued and triangulated planes, backs as fronts – the work of Maria Walker is a lesson in harmonizing tradition and experimentation… She has pushed her materials and flowed with them in order to elicit a distinctive sense of aesthetic truth. […]
A new show “presents both broad and dynamic depictions of landscape revealed as motif.”
Michael Rutherford interviews painter Page Whitmore. Whitmore remarks: "I derive immense tactile pleasure from making and materiality. In alignment with some of the tensions in my work, achieving a high level of craft is important to me with the minimalist painting-esque objects, whereas some works I show are industrially manufactured; almost artless. My work has […]
Michael Rutherford interviews artist Clinton King about his work and making a shift from sculpture to painting. In the sculptures, King remarks, "I often worked with a material in a 'natural way' letting the object and material 'just be.' Working in this way I developed sensitivity and a lightness of touch. This later grew into […]