Xico Greenwald reviews the exhibition Offerings of Light: Paintings and Studies by Theo Stavropoulos at Lehman College Art Gallery, on view through September 26, 2013. Greenwald writes that "Stavropoulos studied painting with Surrealist artist Giorgos Gounaropoulos. Writing in the exhibition catalog, Amei Wallach says his early exposure to Surrealism allowed Stavropoulos to test 'the borders
Justin E. H. Smith reviews the exhibition Tamara de Lempicka at the Pinacotheque de Paris, on view through September 8, 2013. Smiths writes that Lempicka's "paintings seem to have done more to concretize the figure of the modern woman to which... later pop stars would work so hard to fit themselves, the figure that always
Steven Cox interviews painter Kadar Brock, whose work will be on view at The Hole, New York through October 10, 2013. Asked about his "ritual-as-process approach," Brock remarks that "the rituals really started as an extension of, and as a way to manifest, my desire to divest intuition from painting, as a way to push
Mario Naves writes about the paintings of Sidney Licht and Rachel Youens whose work is on view at Salena Gallery, Long Island University, Brooklyn Campus through September 27, 2013. Naves notes: "Visiting the studios of each artist, you might mistake them for undercover sculptors: significant expanses of space are devoted to stuff. Youens’s accumulations of
Robert C. Morgan reviews an exhibition of paintings by Emilio Vedova hung amid paintings by Tintoretto at the Scuola Grande di San Rocco, Venice. Morgan writes: "Vedova Tintoretto is an attempt to reveal the origins of the Venetian Modernist’s approach to abstract painting. Whereas Americans might categorize Vedova in the context of Abstract Expressionism, Celant
Mostafa Heddaya reviews two exhibitions on view at Tate Modern: Ibrahim El-Salahi: A Visionary Modernist (through September 22 ) and Saloua Raouda Choucair (through October 20). Heddaya writes: "In a time of acute upheaval, there is something comforting about the concurrent retrospectives currently on view at the Tate Modern for two seminal Arab modernists, Saloua
Christopher Joy and Zachary Keeting visit the studio of artist Rachael Gorchov. Gorchov comments: "These are paintings... The objects, for me, are in service to the image... I call them sculptural paintings; they come out of the wall, they enter your physical space. To me, the way they enter the physical space is meant to
S. Patkin reviews the exhibition Francesco Clemente: Portraits of the 80s at Thomas Ammann Fine Art Gallery, Zurich, on view through September 27, 2013. Patkin writes: "Many have read Clemente’s work during this period as reacting against the conceptual and minimal art of the 1970s, and credit Clemente as being among one of the most
Photo blog of images from the exhibition Hernan Bas: Deep in the Dark of Texas at Galerie Peter Kilchmann, Zurich, on view through October 19, 2013. The show features paintings made during a residency at the Chinati Foundation in Marfa, Texas. The gallery press notes: "Usually portrayed alone amidst their surroundings, the youths in Hernan
John Yau examines Clement Greenberg's legacy in the context of contemporary art focusing on "provisional" and "casual" painting. Yau writes: "It seems to me that the current situation is not about available options... which span a wide range of possibilities, or about a critic channeling Greenberg’s legacy and identifying the next viable tendency in art.
David Plante interviews Rosalind E. Krauss. The topics Krauss discusses include her initial interest in art, cultivated by visits to the National Gallery of Art and the Phillips Collection, and her belief that the artist must strive to extend the nature of the medium in which she works. Regarding the latter, Krauss comments: "Greenberg’s position
Kenneth Baker reviews three exhibitions in San Francisco: Erin Lawlor: Recent Paintings at George Lawson Gallery (through October 5), Jenny Bloomfield: Pull: Paintings at Gallery 60Six (through September 28), and Aaron Finnis: Solo: Printed "paintings" at Et al. Gallery (through September 14). Baker writes: "A century ago painters started to abandon the long tradition of
A.M. Ekstrand reviews the exhibition Ellen Gallagher: Don’t Axe Me at the New Museum, New York, on view through September 15, 2013. Ekstrand writes: "Gallagher has worked across a range of medias, from appropriated advertisements highlighting marginalized black imagery to paintings paying homage to the minimalism of Agnes Martin and the subtle repetition of Gertrude
Larry Groff interviews painter Amy Mahnick about her work and process. Mahnick comments: "If I don’t feel a real physical and emotional connection to the subjects I’m working with my painting is going to fail. And the act of painting itself is a communion of sorts rather than a detached observation for me. There’s a
Painter Hilde Skilton hosts a group studio visit with Anne Smart, Mark Skilton, Anthony Smart, Robin Greenwood, Sarah Greenwood, John Bunker, Alexandra Harley, Nick Moore. Considering Skilton's paintings, Anne Smart comments that there is "no individual incident in them that makes them into a ‘thing’. The ‘whole thing’ is a happening. I like the fact
Peter Malone reviews the exhibition Ellsworth Kelly: Chatham Series at the Museum of Modern Art, New York, on view thorugh September 8, 2013. Malone writes "Typical of the series, Chatham VI: Red Blue, 1971 is a red horizontal panel sitting atop a shorter blue panel. The width of each panel seems equal, but the length
Paul Behnke photoblogs a painting in process by Karl Bielik. In the series of photos, Behnke writes that "Bielik documents the development of a large work that eventually becomes Tumble - completed in 2013. This is an exceptional opportunity to view the artist's hand and mind at work through each twist and turn of alternately
Nicholas Middleton interviews painter Simon Carter about his work and process. Carter comments: "I do like that speed that paint goes onto the canvas. There is a language to do with that speed and almost offhandedness in a way, but it’s a long process which takes you there. Under each of these paintings there are
Zachary Keeting and Christopher Joy visit the studio of painter Erika Ranee. Responding to Joy's observation that "total extremes... seem at play in each work... every painting has its own distinct voice," Ranee comments that "each painting is its own little torture... a new challenge, a new approach to using these materials that are in
Betsy Huete reviews a recent exhibition of paintings by Esteban Delgado at Avis Frank Gallery, Houston. Huete writes: "While reading more assertively and exclusively as a landform, [Delgado's painting]Tectonic (2013) also effectively engages in [a] shift of interior and exterior space. The link between title and form are easy to connect: the painting looks like