Andrew Bick reviews the work of John Carter, on view in two concurrent exhibitions: John Carter: Surface and Structure at Redfern Gallery, London (through November 15) and Between Dimensions, Tennant Gallery, Royal Academy (through February 16, 2014). Bick writes that "the components of painting and sculpture are held in tension within what [Carter] makes." Bick
John Yau reviews the exhibition Shirley Jaffe: Paintings from the 1970s at Tibor de Nagy Gallery, New York, on view through November 23, 2013. Yau writes that "Jaffe uses different palettes and combinations of color throughout each painting. These distinct combinations infuse each of the painting’s sections with its own individuality. Something different is found
Lauren Henkin reviews Alex Katz: Small Paintings 1987-2013 at Peter Blum Gallery, New York, on view through November 2, 2013. Henkin writes that "the chance to view works from this celebrated artist in the up-close—small, intimate and unexpected paintings that for me, bring fresh life to my understanding of his work. In the show of
John Seed interviews painter Rod Penner on the occasion of Penner's exhibition at Ameringer | McEnery | Yohe, New York, on view through November 23, 2013. Penner comments: "You won't find any hidden or overt socio-political meaning in my work and at the same time I hope that by utilizing what I find in the
Steven Alexander blogs about the recent exhibition John Grillo: Works from the 1940s, 50s and 60s at David Findlay Jr Gallery, New York. Alexander writes: "Grillo's inventiveness is manifested in surprising poetic explorations that are freewheeling, fresh, and utterly without pretense. His paintings carve out and hold their own humble, playful, vital place in the
John Yau reviews the exhibition Kyle Staver: Recent Paintings continues at Tibor de Nagy, New York, on view through November 23, 2013. Yau writes that in Staver's painting Daphne (2013), the figure's "feeling of being hemmed in by the painting’s physical parameters is contradicted by Daphne’s new identity as a laurel tree, a living and
Painter's Bread
Michael Rutherford interviews painter Anna Kunz about her work. Asked about the "supplemental appendages" that extend from her paintings, Kunz remarks: "They gesture out to the viewer. The space around the painting is included, and the painting breaks a little free of its format. The shadows that are created by the work are implicated. I
Anne Russinof posts an image blog of the exhibition Meta Vista, curated by Matthew Neil Gehring. The exhibition features works by Rachel Beach, Paul Behnke, Vincent Como, Matthew Neil Gehring, Beth Gilfilen, Jason Karolak, Joan Mellon, Rebecca Murtaugh, and Kirk Stoller. An online version of the show is concurrently posted at Curating Contemporary. In the
Susie Pentelow interviews painter Katrina Blannin. Asked about her use of geometry, Blannin comments: "The geometric forms are generated from drawings that always start with a grid, which provides the armature for the main structure. Lines are drawn from one corner to the other or from the centres – sometimes grid squares are bisected. Symmetry
Photo blog of installation photos from the exhibition Julia Rommel: Mother Superior at Gaudel de Stampa, Paris, on view through October 31, 2013. Rommel remarks in her statement for the exhibition: " I keep going to the point when, I think, the painting has a character despite its colors, or despite its entire self. I
Altoon Sultan blogs about the exhibition Suzanne Caporael: Enough is Plenty at Ameringer | McEnery | Yohe, New York, on view through November 23, 2013. Sultan writes that Caporael's collages are "stunning in their simplicity of color and shape, their absolute rightness of form. There was some whimsy in the color choices––red polka dots against
Tyler Green interviews painter Amy Sillman on the occasion of the exhibition Amy Sillman: one lump or two at the Institute of Contemporary Art, Boston, on view through January 5, 2014. Asked about the physicality of painting, Sillman comments that paintings "are a pleasure because they're physical and they're made by you.. you're in this
Richard Benari reviews the recent exhibition Mark Strand: Collages at Lori Bookstein Fine Art, New York. Bernari writes: "Layering the paper, using its varying transparencies and deckled-edges, creates a startling sense of depth. It’s completely unexpected, especially from a kind of art that historically tended to privilege the quick and the cerebral over the meditative
Ilaria Rosselli Del Turco blogs about both the "beauty of small paintings," and the particular problems and rewards of working on an intimate scale. Del Turco writes: "I find that small works are particularly successful when they depict a large space, still life or a figure, rather than something 'life size,' ... a small work
Howard Hurst reviews the exhibition A Pinch of Saffron, Dash of Vermouth at Dodge Gallery, New York, on view through October 27, 2013. Hurst writes that "the idea of reasserting the value of painting, the value of 'inner content' within an artwork, or of transience, is hardly novel. Nonetheless, the paintings on view at A
John Seed interviews painter Liu Xiadong whose work is on view in two concurrent exhibitions: Liu Xiaodong In Between Israel and Palestine at Mary Boone Gallery, New York (through October 26) and Liu Xiaodong: Hometown Boy at the Seattle Asian Art Museum (through June 29). Xiadong comments: "I really like going to places that are
Sara De Chiara reviews the exhibition Andrew Dadson: Suburban Suprematism at Galleria Franco Noero, Turin, on view through October 26, 2013. De Chiara writes that Dadson’s paintings "can be admired from a frontal perspective, but also from a three-quarter view, where we become aware of the complex process that led to their material thickness. This
Francesca Simon visits the studio of painter William Tillyer on the occasion of two exhibitions: William Tillyer: The Watering Place at Bernard Jacobson Gallery, London (through November 30) and William Tillyer: Against Nature at MIMA (through February 9, 2014). Speaking about the divide between abstract and figurative painting, Tillyer comments that "there isn’t a need
Anne Russinof posts a photo blog of a visit the exhibition Peter Acheson: Rusted Giacometti at Novella, New York, curated by JJ Manford and Peter Acheson, on view through November 17, 2013. Co-curator JJ Manford writes in the press release: "Peter paints with a lexicon of linear marks, and archaic symbols which are sometimes arranged
Andy Parkinson blogs about the exhibition The Discipline of Painting at Harrington Mill Studios, on view through October 27, 2013. The show features works by David Manley, Sean Scully, David Tremlett, David Ainley, Katrina Blannin, Luke Frost, Lauri Hopkins, Dan Roach, Andy Parkinson, and Trevor Sutton. Parkinson writes: "It used to be common to divide