Link posts — Page 13

David M. Roth reviews John Zurier: Dust and Troubled Air at Anglim Gilbert, San Francisco, on view through June 10, 2017. Roth writes: "This sensation of looking at dense fields and then being drawn into irregularly shaped pools of light is unexpected, shocking even, because nothing in the quick-read indicates that possibility. I was also

Kate Menard reviews Ridley Howard: Travel Pictures at Marinaro Gallery, New York, on view through June 18, 2017. Menard writes: "While loosely connected to specific locations, the figures in Howard’s Travel Pictures do not interact with their surroundings but seem isolated and caught up in their own private narratives. His meticulous attention to color and

Phyllis Tuchman reviews Matisse in the Studio at the Museum of Fine Arts, Boston, on view through July 9, 2017. Tuchman writes: "Though he closely observed his subjects, [Matisse] generally rendered them with a twist depending on his interests of the moment. Has any other show in recent times made us so acutely aware of

Antrese Wood interviews painter Lani Irwin. Irwin makes an interesting connection between painting and dreams: "I like the undercurrents and the overcurrents [of symbolism in painting] ... I like to have the objects in the paintings have more that's there even though I don't necessarily understand what it is. It's like a dream ... as

Becky Huff Hunter writes about the paintings of Ginny Casey, on view in the exhibition Ginny Casey & Jessi Reaves at the Institute of Contemporary Art, Philadelphia, through August 6, 2017. Hunter writes: "This impossible composition [of Moody Blue Studio, 2017], as well as those of the other ten paintings, is reminiscent of art school

James Croak reviews John Graham: Maverick Modernist at the Parrish Art Museum, Water Mill, NY, on view through July 30, 2017. Croak writes: "Early Modernism in painting, loosely defined as artwork seeking an essentialism constructed between the late 19th century up until WWII, was an intellectual adventure of the first order, having its manifestation in

David Rhodes reviews works by David Novros at Paula Cooper Gallery (through June 30). Rhodes writes: "Untitled (1975), and Untitled (Frog Altar) (1975) use right angles as pivotal compositional elements... Both the viewer and the painting are animated, provoking an experience like that of passing through a chapel or a cave, rather than analytically viewing

James Romm reviews The Berlin Painter and His World‌, on view at the Princeton University Art Museum through June 11, 2017. Romm writes: "The Berlin Painter began working at the end of the sixth century BC, when the red-figure technique of vase painting—in which black glaze fills the background, leaving silhouettes of unglazed red ceramic

Jonathan Goodman reviews Painters' Lives: Marguerite Loupe and Maurice Brianchon at the Grossman Gallery, Lafayette College in Easton, Pennsylvania. Goodman writes: "Louppe and Brianchon may not have been painters of major insight, but their fine possession of craft made them practitioners of genuine realization. They helped maintain the general level of painting practice in France

Lev Feigin reviews Celia Reisman: A Moment Noticed at Gross McCleaf Gallery, Philadelphia, on view through May 26, 2017. Feigin writes: "Only in 'Echo Park Coral' do we witness contact between two people. The couple at the lower end of the composition – we only see their heads and shoulders – face each other in

Angeria Rigamonti di Cutò interviews painter Peter Dreher on the occasion of his exhibition Day by Day, Good Day at Mayor Gallery, London, on view through June 2, 2017. Dreher comments: "... adherence to one motif and its repetition does not represent a limitation but rather a liberation. It allows me to concentrate on what

Maggie Gray visits the studio of painter Markus Lüpertz on the occasion of two concurrent retrospectives in Washington D.C.: Markus Lüpertz: Threads of History at the Hirshhorn Museum (May 24 – September 10) and Markus Lüpertz at the Phillips Collection (May 27 – September 3) Lüpertz remarks: "There is nothing new in painting. It is

Charles A. Riley II reviews three New York exhibitions: Ellsworth Kelly: Last Paintings and Plant Drawings at Matthew Marks Gallery (through June 24), Robert Mangold Paintings and Works on Paper 2013 - 2017 at Pace Gallery (through June 17), and works by David Novros at Paula Cooper Gallery (through June 30). Riley notes: "Touring this

Arthur Peña interviews painter Stanley Whitney on the occasion of the exhibition FOCUS: Stanley Whitney recently on view at The Modern, Fort Worth, TX. Whitney comments: "It happens in the color. People bring their own stories to it and the work allows for them to happen all at once. The titles do that to. Peaches

Ted Dodson reviews Cynthia Daignault: There is nothing I could say that I haven't thought before, recently on view at the Flag Art Foundation, New York. Dodson writes that the show "collects three separate series of paintings. Together, they continue her signature conceptual methodology, expanding on previous considerations of viewership, representative painting, and existential feminism

Blog post featuring Linda Nochlin's 1980 article re-published on the occasion of Florine Stettheimer: Painting Poetry, on view at The Jewish Museum, New York, through September 24, 2017. Nochlin writes: "... one might well raise some questions about conventional notions of an art of social concern itself, especially as these have recently been articulated in

Gary Brewer visits the studio of Mark Dutcher whose show Another World is on view at Jason Vass Gallery, Los Angeles through June 3, 2017. Brewer writes that "[Dutcher's] approach can express innocence and joy in passages where the canvas remains fresh and present and the paint is applied lightly. In other works where an

Reprinted from May 12,1960, photographer Robert Smithies recounts commissioning a painting from LS Lowry. Smithies recalls: "The steps rose from ruins of a demolished terrace. A lamp-post, bent with age, pointed from the bottom to the surmounting stock brick façade of yet another chapel – the Primitives... 'Now I really must paint that! What do

Jennifer Samet reviews Mercedes Matter: A Survey: Paintings & Drawings from 1929 to 1998 at Mark Borghi Fine Art, New York, on view through May 26, 2017. Samet writes: "Matter’s insistence on the nude female body, and on still lifes of flowers, drapery, and skulls as the focus of observational painting — for herself and

Alice Spawls reviews Vanessa Bell: 1879-1941 at Dulwich Picture Gallery, London, on view through June 4, 2017. Spawls writes: "Despite the obvious influence of Matisse on her work, the artist Bell often seems closest to in spirit is Bonnard. There is an affinity in their domestic playfulness, in the shimmer of marks and diffusive pinks