Catalogue Essay

Lois Dickson: A Playpen Within A Battlefield

An essay by David Cohen on the paintings of Lois Dickson. Dickson’s exhibition New Worlds is on view at the New York Studio School through July 15, 2017. Cohen writes: “A ludic morphology lies at the heart of Dickson’s endeavor. Elaborations of shape and excavations of depth animate her pictorial intelligence in ways that are […]

Dana Gordon: New Painting @ Sideshow Gallery

Dana Gordon matches painterly intuition with a philosophical awareness of the great history of art in which he takes part.

Josef Albers: Art to Open Eyes
New York Review of Books

An excerpt from Nicholas Fox Weber’s preface for the catalog of One and One Is Four: The Bauhaus Photocollages of Josef Albers, on view at the Museum of Modern Art through April 2, 2017. Weber writes: “Josef assembled these photo-collages in the years when he was also constructing furniture, sandblasting glass, and teaching the nature […]

Elliott Green: The Painter of Continuous Motion
New York Review of Books

Jana Prikryl writes about the paintings of Elliott Green which are on view at Pierogi Gallery, New York, through March 26, 2017. Prikryl begins: “Elliott Green’s paintings appear to be in continuous motion, the way animals, plants, and ultimately rocks and mountains are in continuous motion, even when our human vision fails to apprehend it. […]

Barbara Rose on Painting After Postmodernism
The Art Newspaper

An excerpt from Barbara Rose’s catalog essay for the exhibition Painting After Postmodernism: Belgium / USA, on view through November 16 at Vanderborght and Cinéma Galeries/the Underground, Brussels. The show features works by Mil Ceulemans, Joris Ghekiere, Bernard Gilbert, Marc Maet, Werner Mannaers, Xavier Noiret-Thomé, Bart Vandevijvere, Jan Vanriet, Walter Darby Bannard, Karen Gunderson, Martin […]

New Geometries: Embracing Narrative & Content
Two Coats of Paint

Sharon Butler posts excerpts from Alex Baker’s catalogue essay for New Geometries at Fleischer/Ollman gallery in Philadelphia on view through November 12, 2016. The show features works by Martha Clippinger, Gianna Commito, Diena Georgetti, Jeffrey Gibson, Eamon Ore-Giron, and Clare Rojas. Butler notes that “Baker sums up the history of abstract painting and then suggests […]

Sue Post: Intuitively Chosen Constraints
Two Coats of Paint

An essay by Franklin Einspruch about the paintings of Sue Post on the occasion of her exhibition Weed/Garden at The Painting Center, New York, on view through October 1, 2016. Einspruch writes: “Post began her graduate work on the landscape, finished a devout non-representational painter, and for five years worked within an abstract format consisting […]

Craig Manister: Painting the Rhythm of Perception

A reverence for both paint and subject runs throughout Manister’s work, connecting his earlier abstract narratives and his more recent group of sensitively observed still lives.

Eating Painting

Eating Painting presents works that embody painting as an immersive sensory experience – the “consumption of paint as color and substance.”

Andrew Seto: The After Life of Paintings

Seto’s paintings never completely disavow the natural world for a purely intellectual one, existing instead as an open means of representation situated somewhere between.

Certain Densities in Perceptual Painting

Matthew Ballou argues that “a perceptual approach to painting is not synonymous with rote observation.”

Jon Imber’s Painterly Freedom

Jon Imber’s current paintings are born of a similar allegiance to the one standard every artist of quality must follow, freedom.

Focusing the Field

While nearly every other aspect of abstract painting has been exhaustively investigated and re-imagined, examples of focusing the field to a small scale have been isolated and few.