Greg Lindquist interviews artist Franklin Evans about his work. Evans comments: "With my work, I am interested in the materiality of painting. I like those kinds of beautiful painting marks that can be stretched and reinterpreted by digital media. So I combine inkjet printing in front of the other painted things. The materialness of painting
Jeff Hogue talks to painter Altoon Sultan about her work and career. Sultan comments: "Some artists are quite deliberate in their intention to express meaning in their work; I think of Malevich, for instance, in his Suprematist works. Sometimes such a quest is successful, but I believe it has less to do with intention than
Ross Simonini interviews painter Chris Martin whose work is currently on view at David Kordansky Gallery, Los Angeles through November 09, 2013. Martin comments: "I think the great masters are people like de Kooning, who consistently opened his formal vocabulary to include every kind of idea—it was a shoulder, or it was a breast, or
Nicholas Fox-Weber writes about Paul Klee's influence as a teacher at the Bauhaus, on the occasion of the exhibition Paul Klee: Making Visible at Tate Modern, on view through March 9, 2014. Fox-Weber cites impressions of Klee by a number of collectors and artists including Anni Albers who "considered [Klee] to be unparalleled in his
Daniel Creahan reviews the exhibition Christopher Wool at the Solomon R. Guggenheim Museum, New York, on view through January 22, 2014. Creahan writes: "Moving from his bold textual works to sharp spray-painted canvases to his photographs, Wool’s perspective on the urban environment becomes more pronounced, and his willing engagement with its symbolism and semiotics is
Anne Russinof photo blogs a visit to the exhibition Jules Olitski On An Intimate Scale... and Friends at Freedman Art, New York, on view through January 31, 2014. The gallery notes that the works on view "present a retrospective overview of Olitski’s paintings through the artist’s distinctive periods: 'Core/Stain' paintings; 'Sprays'; 'Baroque'; 'High Baroque'; and
John Yau reviews the exhibition Lester Johnson, Dark Paintings at Steven Harvey Fine Art Projects, New York, on view through November 17, 2013. Yau writes: "Johnson doesn’t demean or pity his subjects and he doesn’t allow us to become sentimental about them. Additionally, he doesn’t let us become voyeurs or let us off the hook,
Simon Ling and Chris Ofili discuss painting on the occasion of the exhibition Painting Now: Five Contemporary Artists at Tate Britain, on view from November 12 - February 9. 2014. The show features works by Tomma Abts, Gillian Carnegie, Simon Ling, Lucy McKenzie, and Catherine Story. Ling comments: “Painting is really good at getting you
Mario Naves reviews the exhibition Magritte: The Mystery of the Ordinary, 1926–1938 at the Museum of Modern Art, New York, on view through January 12, 2014. Naves writes: "An illustrator by trade, Magritte didn’t extend himself when putting brush to canvas. The requisite job and nothing more—technique wasn’t allowed to intrude on the artist’s dreamscapes.
A.V. Ryan reviews the recent exhibition Joan Waltemath: The Dinwoodies at Schema Projects in Bushwick, Brooklyn. Ryan writes that Waltemath's "drawings engage the architecture of the storefront gallery in such singular and delightful ways that the works might have been composed for the space like an occasional poem. Four of the pieces run floor-to-ceiling and
Thomas Micchelli blogs about Leonardo da Vinci's drawing Head of a Young Woman (Study for the Angel in the ‘Virgin of the Rocks’) on view in the exhibition Leonardo da Vinci: Treasures from the Biblioteca Reale, Turin at the Morgan Library, New York, through February 2, 2014. Micchelli writes that "the drawing is imperfect, which
James Panero visits the Nicholas Roerich Museum and reviews several current exhibitions including: Meg Hitchcock: The Land of Bliss at Studio10, Brooklyn (through November 10), Judith Linhares and Loren Munk with Rebecca Litt at Valentine Gallery, Ridgewood, Queens (through November 17), Meta Vista at 16 Wilson, Brooklyn (through November 9), and Scale at Life on
Jed Perl reviews the exhibition See It Loud: Seven Post-War American Painters at the National Academy Museum, New York, on view through January 26, 2014. The show features work by Leland Bell, Paul Georges, Peter Heinemann, Albert Kresch, Stanley Lewis, Paul Resika and Neil Welliver. Perl writes that the show fails to offer "the expansive
Kevin Blake interviews painter Josh Reames about his work. Reames comments: "I think all of the work addresses escapism, just in varied ways. The tropical imagery and psychedelic drug references are just as involved with escapism as the act of painting is. The eclectic read is a product of my scattered focus, which is probably
Lee Ann Norman reviews the exhibition Gregory Amenoff: Trace at Alexandre Gallery, New York, on view through November 23, 2013. Norman writes that "Amenoff’s compositions generally place a shape or form against an implied landscape, seascape, or vegetation. His images are full of organic color whirls and disjointed geometric shapes that burst, zigzag, and flow
Zachary Keeting and Christopher Joy talk with painter Regina Bogat at her exhibition Regina Bogat: The New York Years, 1960-1970 at Zürcher Studio, New York, on view through November 2, 2013. Bogat reamrks that in her works "I try to do things I've never seen before... just let your unconsious roam. I love the freedom
Jonathan Beer and Lily Koto Olive interview painter Julie Heffernan on the occasion of her exhibition Sky is Falling at P.P.O.W. Gallery, New York, on view through November 16, 2013. Heffernan comments that "the figures (and everything else in the paintings for that matter) continue to make sense to me only when I think of
Liz Hager reviews the exhibition David Hockney: A Bigger Exhibition at the De Young Museum, San Francisco, on view through January 20, 2014. Hager writes: "Color is Hockney’s seductive Siren, and she is both an asset and a liability. Taken as individual compositions, the bright saturated colors delight. Hockney Woods is a cheery place full
Julie Beckers reviews the exhibition The Heritage of Rogier van der Weyden: Painting in Brussels 1450-1520 at the Royal Museums of Fine Arts of Belgium, Brussels, on view through January 26, 2014. Beckers writes that "the exhibition is more about what Van der Weyden left behind and those who followed his style of painting after
John Goodrich reviews exhibitions by John Lees and Janice Nowinski at John Davis Gallery in Hudson, New York, on view through November 3, 2013. Goodrich writes that Lees' "encrusted, luminous layers of color that lend a transcendental glow to paintings poised somewhere between cartoons and devotional images. Some works impart to everyday sights – a