Link posts — Page 10

Karen Emenhiser-Harris reviews Magnetic Fields: Expanding American Abstraction, 1960s to Today at the Kemper Museum of Contemporary Art, Kansas City, on view through September 17, 2017. Emenhiser-Harris writes: "According to the Kemper, this is the first museum exhibit in the US to show abstract artwork created exclusively by women of color. Stylistically varied and teeming

Tina Engels blogs about the recent exhibition Mystery and Rapture: Landscapes by Four, curated by William Bailey, at the Civitella Ranieri Foundation, Civitella Ranieri, Italy. The show featured works by Mario Fallani, Marco Fallani, Dan Gustin, and Langdon Quin. Engels notes that selections made by curator "[William] Bailey [convey] the resonance of different cultural spheres

Ratik Asokan reviews Lynette Yiadom-Boakye's recent exhibition Under-Song For A Cipher at the New Museum, New York. Asokan observes: "For a portraitist, it’s a strange approach. But perhaps we aren’t dealing with portraiture. Abstract painting, as defined by Octavio Paz, 'suggests contemplation to us—not of what it shows but of a presence which the colors

Donald Stone reviews Vermeer and the Masters of Genre Painting: Inspiration and Rivalry, on view at the National Gallery of Ireland, Dublin through September 17, 2017 and the National Gallery of Art, Washington from October 22, 2017 – January 21, 2018. Stone writes: "The organisers of the latest exhibition ... want us to see Vermeer

David Cohen interviews painter Clintel Steed. Steed remarks: "I think as an image-maker I am always searching for an image that will be challenging that will have some of the elements that I find exciting in painting... That is the thing that is magic about the visual world, when you pay attention to things, that

Phong Bui interviews painter Guy Goodwin whose exhibition Grotto Relief was recently on view at Brennan & Griffin, New York. Goodwin remarks: "The relationship I’ve developed with my color, which takes a day or two to dry, is the biggest step I’ve taken in my life as an artist. The miraculous thing is that when

Ella Coon reviews Patricia Treib: Interstices recently on view at Bureau, New York. Coon writes: "Treib’s engagement with ciphers and symbols coupled with her treatment of the canvas as uncharted territory—something to be delicately partitioned or meted out—suggests she is interested in something more than abstracting reality—that is, reducing observable objects and scenes to aestheticized

Deborah Krieger writes about Brenda Goodman's recent paintings which will be on view in Goodman's show In a New Space at David & Schweitzer Contemporary, New York, from September 8 - October 1, 2017. Krieger writes: "The visual language and vocabulary Goodman has used—and continues to use—to reflect her frame of mind is always evolving,

Chris Crosman reviews John Walker: From Seal Point at the Center for Maine Contemporary Art, on view through October 29, 2017. Corsman writes: "Walker is an unrepentant modernist who has led a resurgence — mostly through uncompromising example — of painters reinvigorating abstraction by looking to nature, ideas, emotion and, especially, place. The Seal Point

Nick Moore reviews a retrospective exhibition of paintings by Gillian Ayres at the National Museum, Cardiff, on view through September 3, 2017. Moore begins: "The overarching sense of this exhibition is of a celebration of a painter whose work is vibrant, energetic and ambitious, but perhaps, above all, someone who has lived in painting. Ayres’s

Alexander Zox remembers his father, painter Larry Zox, and growing up around painters in East Hampton. An exhibition of works by Larry Zox was recently on view at Berry Campbell Gallery, New York. Zox writes: "Painters existed in a kind of bubble here. But they could also find a sudden end, which I didn't have

David DiMichele reviews Women of Abstract Expressionism recently on view at the Palm Springs Museum of Art. The show features works by Mary Abbott, Jay DeFeo, Perle Fine, Helen Frankenthaler, Sonia Gechtoff, Judith Godwin, Grace Hartigan, Elaine de Kooning, Lee Krasner, Joan Mitchell, Deborah Remington, and Ethel Schwabacher. DiMichele writes: "The big surprise in the

Erin Lawlor reviews Salon 002: Bram Bogart, Witte de Witte at the Saatchi Gallery, London, on view through September 10, 2017. Lawlor writes: "It might seem a curious challenge to present Bogart’s work through the white paintings; yet this reduction or even denial of colour provides something of the clarity of an x-ray, allowing a

Florence Hallett reviews Giovanni da Rimini: A 14th-Century Masterpiece Unveiled at the National Gallery, London, on view through October 8, 2017. Hallett begins: "Jewel-like, and embellished with engrossing details, the exquisite little panel at the centre of the National Gallery’s current exhibition is a rare evocation of Rimini at the turn of the 14th century,

Philip Pearlstein reflects on his transformation from an abstract expressionist to a figurative painter, a change owed in part to the study of Piero della Francesca. Pearlstein recalls that Piero's work "seemed to me to provide a kind of grammar of pictorial invention, parallel to the grammatical constructions of language that adventurous poets play with;

John Yau reviews Gabriele Evertz/Sanford Wurmfeld: Polychromy at MINUS SPACE, Brooklyn, New York, on view through August 12, 2017. Yau observes that the two artists' "work is very different from each other, demonstrating that the ontology of color is a wide-open field — a space where research, color theory, and painting can arrive at very

Blog post revisiting Jonathan Silver's 1974 article Giacometti, Frontality and Cubism. Silver writes: "I believe a fresh approach to Giacometti’s figurative style will show that its apparent reductiveness—the insistence on frontality, the prevailing monochrome of the paintings and the attenuation of the sculptured figures—represents the common ground between contending aims and mutually limiting conditions in

Tom Walker reviews Margaret Clarke: An Independent Spirit at the National Gallery of Ireland, Dublin, on view through until August 20, 2017. Walker writes: "Throughout her career, Clarke enjoyed commercial success as a portrait painter, receiving several official commissions. But the best of her work in this genre, often done when not working to order,

Alan Gouk presents his thoughts on great modernist paintings by Cézanne, Picasso, Matisse, Bonnard, Gauguin, Monet, and Braque. Gouk remarks: "What painting is about is claiming the surface – making it real to you, palpable, physically present, and tangible almost. At its best it is the expression of one’s involuntary response to surface, but without

Angelica Frey reviews works by Richard Gerstl at the Neue Galerie, New York, on view through September 25, 2017. Frey writes: "Gerstl was a polarizing figure, a 'neurotic Narcissus', as co-founder of the Leopold Museum, Diethard Leopold defined him ... Gerstl perfectly embodied the artistic and existential turmoil of Vienna in the last years of