Jonathan Kamholtz reviews the exhibition Continuity and Change: The Return to Figurative Painting, curated by Daniel Brown, on view at Cininnati Art Galleries through June 8, 2013. The show features works by Linda E. Anderson, Rob Anderson, Brian Burt, Tim Kennedy, Eve Mansdorf, Emil Robinson, and Aidan Schapera. Kamholtz writes that he is "interested in
James Kalm visits an exhibition of paintings by Peter Acheson at Steven Harvey Fine Art Projects, New York, on view through May 26, 2013. Kalm notes "Peter has promoted a serious commitment to painting despite the recent predominance of New Media Art. Since leaving the city and moving up-state to raise his family, Peter has
Yifat Gat posts an interview with painter Julie Torres, curator of What I Like About You at Parallel Art Space. The exhibition which opens during Bushwick Open Studios weekend features a work by 19 international artists who have each selected an artist from Brooklyn to participate in the show. Torres comments that "it never hurts
Paul Behnke photo blogs the progress of Sabine Tress' painting My Beautiful Valentine (2013). Tress comments: "My work is more and more based on experimenting. It evolves through the working process which leaves a lot of room for changes and surprises. The piece 'My beautiful Valentine' is one of my latest paintings and it is
Julia Voss examines Hilma af Klint's background and her emergence as the first European abstract painter, a title famously claimed by Kandinsky. Voss writes: "When Wassily Kandinsky wrote to his New York gallerist Jerome Neumann in December 1935, he was clearly anxious to reassure him once again that he had painted his first abstract picture
Arthur Peña talks to painter Sam Reveles on the occasion of the exhibition Sam Reveles: Aran at Talley Dunn Gallery, Dallas, on view through June 1, 2013. Reveles remarks: "Very early on my relationship to the canvas was important for me. I remember staring at the canvas and thinking; 'what motivates me to do something
John Yau reviews an exhibition of paintings by Don Voisine at McKenzie Fine Art, New York, on view through June 9, 2013. Yau writes: "In the formal tensions Voisine establishes in his painting — as the result of a process, his elements never appear forced or extraneous — all kinds of feelings and possible readings
Zachary Keeting and Christopher Joy visit the studio of painter Fabian Marcaccio. Marcaccio discusses his large scale "environmental" paintings which he describes as "creating a zone where your peripheral vision and your central vision can could keep putting together parts of the painting so the painting really is not an object but is a zone.
Leah Ollman reviews the exhibition Marie Thibeault: funtown at George Lawson Gallery, Los Angeles, on view through June 8, 2013. Ollman writes that Thibeault's new paintings "are loosely focused on 'Funtown,' a New Jersey amusement park ravaged last fall by Hurricane Sandy. The paintings are images of motion machines and dynamic motion machines in themselves.
Valerie Brennan interviews painter Gwennan Thomas about her work and process. Thomas comments: "Drawing is a really important part of my process and I generally have quite a few primed pieces of paper stuck on the wall where I can either test out new colours or colour-combinations or possibilities for or within paintings, as well
Altoon Sultan blogs about the exhibition John Zurier: A spring a thousand years ago at Peter Blum Gallery, New York, on view through June 22 2013. Sultan writes: "Within these minimally painted, sensitively brushed paintings there is a sense of boundless space, of light shimmering through thin veils of color... The paintings are paradoxically both
Scott Hewicker interviews painter Sydney Cohen about her work on the occasion of the exhibtion Sydney Cohen: Some Other Need at Right Window Gallery, 992 Valencia St., San Francisco, on view through May 31, 2013. Hewicker writes that Cohen's paintings are "small to medium-large brilliantly colorful layered abstractions of oblique lyrical structures and spaces; each
Alexander Nemser writes an appreciation of Jon Imber's recent paintings on the occasion of the exhibition Palaemon, A Survey of Paintings by Jon Imber, on view at the Godwin-Ternbach Museum, Queens College, New York through June 15, 2013. Nemser writes: "In the last ten years, Jon Imber’s paintings have taken on a new dynamism, a
Leigh Markopoulos recaps Painting Expanded a symposium on the contemporary painting practice at California College of the Arts, San Francisco, April 13, 2013. Speakers and guests included Tom La Duke, Mary Weatherford, Keltie Ferris, Dushko Petrovich, John Zurier, and Mary Heilmann among others. Markopoulos writes that the participants "addressed neither the specter of Rosalind Krauss
Jennifer Samet interviews painter John Walker about his work and career. Walker recounts a formative experience: "As a young man, I had gone to Amsterdam to look at Van Gogh, actually. I saw the Rembrandts, including the painting that is still the most important painting to me — 'The Jewish Bride.' It just touched me
Larry Groff interviews Matthew Lopas about his panoramic paintings on the occasion of an exhibition of his work at Narthex Gallery at Saint Peter’s Church, New York, on view from May 17 - June 19, 2013. Asked about painting panoramic views Lopas answers: "The conventional viewfinder produces wonderful compositions, but it is always at a
Zachary Keeting and Christopher Joy visit the studio of painter Tamara Gonzales. Gonzales generously discusses her process which involves lace and spray paint. She shares an interesting perspective on the physically demanding nature of spray painting in relation to traditional oil painting, as well as other differences and advantages the technique offers including speed and
John Seed interviews painter Vonn Sumner on the occasion of the exhition Vonn Sumner: Somewhere Else at Merry Karnowsky Gallery, Los Angeles, on view May 18 - June 15, 2013. Seed writes that Sumner's work "features a suite of paintings that form a kind of personal Commedia dell'Arte, whose main actor has a tragic, muted
Alex Bacon interviews painter Franceso Clemente on the occasion of the exhibition Clemente > Brazil > Yale, at the Yale School of Art, on view through June 2, 2013. Clemente comments: "every single moment of the unfolding experience of the work is just a pretext to move on, to move forward from that moment. It’s
Ben Wiedel-Kaufmann reviews the exhibition George Bellows at the Royal Academy of Art, London, on view through June 2013. Wiedel-Kaufmann writes: "where Hogarth, Goya or Dickens proved at least as critical of the hypocrisy of the higher classes as the depravity of the lower, as we move around the exhibition we realise that Bellows’ brush