Link posts — Page 11

David Reed considers rarely seen details in several paintings by Caravaggio and how these details alter and intensify the potential meanings of the works. Reed writes; "Did Caravaggio realize that the self-portrait reflection in the “Bacchus” and the praying figure in “The Works” would not be visible under the standard circumstances in which the paintings

Mark Hudson reviews Howard Hodgkin: Painting India at Hepworth Wakefield, on view through October 8, 2017. Hudson writes: "The paintings he produced in India and in recollection at home are far from straightforward travelogue. For Hodgkin, the subcontinent represented a place apart from the inhibited West, where life was 'transparent': with emotion so close to

Antrese Wood interviews painter and writer Mario Naves.

Joseph Nechvatal reviews Fernand Léger: Beauty Is Everywhere at the Centre Pompidou-Metz, Metz, France, on view through October 30, 2017. Nechvatal notes that he "[prefers] Léger’s work when it points at neurocomputing wetware, biorobotics, and AI-charged automation; when it hums away in the space between the mechanic and the organic. This is when Léger functions

Pat Rogers interviews Lauren Luloff on the occasion of Luloff's exhibition Sun Drawn at Halsey Mckay Gallery, East Hampton, NY, on view through July 24, 2017. Rogers' introduction notes: "Created from bedsheets that are ripped into sections, painted and suspended, [Luloff's] new works are inspired by landscapes, nature and natural forms found in the Brooklyn

Charles Hope reviews Raphael: The Drawings at The Ashmolean Museum, Oxford, on view through September 3, 2017. Hope writes: "One of the great strengths of the exhibition is the way it illustrates Raphael’s increasing mastery of and obvious pleasure in the medium of drawing during his years in Rome. This comes across most strongly in

Thomas Micchelli reviews As in Nature: Helen Frankenthaler Paintings (through October 9), and No Rules: Helen Frankenthaler Woodcuts (through September 24). Both exhibitions are on view at at the Clark Institute, Williamstown, Massachusetts. Micchelli writes that both exhibitions "offer a compact, revelatory, and frequently stunning look at an artist whose reputation has been all too

Greg Burak interviews painter Brian Rego. Rego remarks: "When I paint outdoors I find everything happening at once, so I respond to what I see with a sense of urgency and I try not to think too much about it. I look for larger spatial constructs as a way to enter the painting. I do

Cat Balco reviews works by Ruth Miller and Andrew Forge at the Washington Art Association, Washington Depot, CT, on view through August 5, 2017. Balco writes: "Like Cézanne, Miller and Forge are not interested in description, but rather revelation: of something ineffable that can only be seen through engagement with the observed world. 'You want

Julian Bell reviews two exhibitions: Camille Pissarro: Le premier des impressionnistes at the Musée Marmottan Monet, Paris (through July 16) and Pissarro à Éragny: La nature retrouvée at the Musée du Luxembourg, Paris (through July 9). Bell writes: "Nearly always, Pissarro composes poems about passing light that can be mapped intelligibly, letting you know just

Jennifer Samet interviews painter Emily Cheng. Cheng remarks: "A lot of what I’m painting doesn’t exist in the visible world. So, to capture its enormity and its suggestive power, you have to be able to go into your imagination, which is not always cooperative. You pull out what you can from it. I want to

Imelda Barnard interviews Frank Bowling on the occasion of Bowling's exhibition Mappa Mundi at Haus der Kunst, Munich, on view through January 7, 2018. Barnard writes: "‘The possibilities of paint are never-ending,’ Frank Bowling tells me... Bowling’s persistent urge to reinvent painting has led him to experiment with elaborate procedures – stitching, staining, pouring, dripping,

Sharon Butler reviews Unlimited: Painting in France in the 1960s & 1970s at the Philadelphia Museum of Art. Butler writes: "The incisive, elegantly installed exhibition in Philadelphia, comprising work made from 1964 through 1974, highlights some of the ideas that were percolating before and after the 1968 riots. Artists began to consider how they were

Dan Nadel reviews paintings by Ellen Berkenblit recently on view at Anton Kern Gallery, New York. Nadel writes: "In defiance and celebration of the earthen black that surrounds them, the vigorously delineated horses, flowers, hands, faces, stripes, a nude, and a foot found in Ellen Berkenblit’s striking new paintings at Anton Kern Gallery are a

Julian Bell reviews an exhibition of works by Gillian Ayres on view at the National Museum of Wales in Cardiff through September 3, 2017. Bell writes: "The huge canvases Gillian Ayres painted during the 1980s rush at you like Atlantic breakers. Bursts of orange, viridian, scarlet, yellow and cyan tumble forward and engulf you; convulsions

John Yau reviews Aspects of Abstraction at Lisson Gallery, New York, on view through August 11, 2017. The show features works by Leon Polk Smith, Paul Feeley, Joanna Pousette-Dart, and Marina Adams. Yau writes: "The exhibition’s circumspect title makes no grand or inclusive claim. It brings together four diverse artists from different generations who share

Emily Spicer reviews an exhibition of works by Fahrelnissa Zeid at Tate Modern, London, on view through October 8, 2017. Spicer writes that in Zeid's painting Resolved Problems (1948), "[figuration] drops away entirely. This is a joyously coloured canvas of gestural shapes that seem to jostle in front of your eyes. Red is the dominant

John Bunker reviews Richard Smith: Work of Five Decades at Flowers Gallery, Cork Street, London, on view through July 15, 2017. Bunker writes: "To point to and paraphrase Matisse ... he said the first line that an artist makes as she/he begins a drawing is in fact the 5th as there are already the four

Matthew Sperling reviews Milton Avery at Victoria Miro, London, on view through July 29, 2017. Sperling writes: "In Excursion on the Thames (1953), one of several pictures in the exhibition deriving from Avery’s only trip to Europe in 1952, the perfect balance is struck between loving observation of the everyday and visionary form-making: the pleasure

Matthew Rudman reviews Wayne Thiebaud: 1962 to 2017 at White Cube Mason’s Yard, London, on view through July 2, 2017. Rudman writes: "What this exhibition makes clear is not simply Thiebaud’s longevity, with works on show dating from 1962 to 2017, but the sustained quality, experimentation and sense of play in his output ... Portraits