Monroe Denton reviews the exhibition Artist and Visionary: William Matthew Prior Revealed at the American Folk Art Museum, New York, on view through May 26, 2013. Denton writes that: "Prior’s works, which will be returned to various museums throughout New England this summer, raise questions about art in general, the idea of progress in art,
Robert Berlind reviews the recent exhibition John Moore: Portals at Hirschl & Adler Modern, New York. In the painting Turnstile (2012), Berlind writes, "The interplay of decrepit and pristine, near and far, light and dark, amid two distinct orders of spatial structure could be an instant of a dream. The turnstile’s abandoned structure holds us
In a new video curator Asher Edelman and author Charles Riley discuss the career of New York School painter Fritz Bultman. Fritz Bultman: The Missing Irascible is on view at Edelman Arts, New York, through May 11, 2013. The video features close-ups of Bultman's paintings as well as a video walk-through of the exhibition. Riley
John Holland reviews two painting exhibitions on view in London: Annie Lapin: Amnesiacs at Josh Lilley (through May 16) and Ann-Marie James: Proserpina at Karsten Scubert (through May 10). Holland writes that both Lapin and James are artists who "make ostensibly abstract paintings, but who use the art of the past in a self-consciously Post-Modern
Piri Halasz reviews three exhibitions at Spanierman Galleries: Perle Fine: 30 Years of Painting, Dripping! Pouring! Staining!, and paintings by James Walsh (all through May 25). Halasz writes that the exhibitions"might be said to constitute one show of three generations. The first show celebrates Perle Fine, an artist associated with the first generation of abstract
Lucy Chinen muses on Llyn Foulkes' painting Pop (1985-90) on view in the Llyn Foulkes retrospective at the Hammer Museum, Los Angeles though May 19, 2013. Chinen writes: "The expression of disgust towards American capitalism and immersive pop culture is not a particularly unique perspective in contemporary art, which is why it is rare when
As part of his In Process series, Paul Behnke posts a photo-blog about the development of painter James Erikson's Slow Morning (2012). Of his work Erikson says: "My paintings are abstractions in the sense that at some point in the painting process I’m abstracting from nature, whether consciously at the beginning or through some experience
Christopher Joy and Zachary Keeting visit the studio of painter Clinton King. King discusses the progress of individual paintings and his studio process. On the resolution of individual paintings he comments: " If it's mysterious to me and I really don't know why they look a little uncomfortable and there's a varying degree of response
John Yau reviews two exhibitions that foreground color: Paul Behnke: An Awful Rainbow at Kathryn Markel Gallery (through May 18) and Stanley Whitney: Other Colors I Forget at Team Gallery, New York (through May 12). Yau notes that "In Behnke’s best paintings, our focus shifts between dissonance and order, large and small, solid planes and
Michael Bise interviews Emma Biggs & Matthew Collings on the occasion of the exhibition Biggs and Collings: Suspicious Utopias at Fort Worth Contemporary Arts, on view through May 11, 2013. Biggs and Collings comment: "At the moment in art culture, any proposal to do with “form” is considered bad. As something transcendent, it is automatically
Pac Pobric reviews a recent exhibition of paintings by Ted Stamm at Marianne Boesky Gallery, New York. Pobric writes that in 1973 "Stamm began to focus more fully on the overall structure of his work, and soon after he discarded the more traditional square and rectangular supports. His attention turned elsewhere: to the shapes of
Julia Schwartz interviews painter Rebecca Campbell. Campbell remarks: "There is no illusion I have that I’m inventing anything. I’m returning to something that exists for all of us, so for me, things like death, things like light, because they have happened always does not make them rote or irrelevant. We each have to face death.
James Panero photo-blogs a visit the the studio of painter James Little. The exhibition James Little: Recent Work will be on view at June Kelly Gallery, New York from May 16 - June 18, 2013. Panero's photo essay documents Little's studio, materials, and process which come together, Panero writes, to realize "a rhythmic sense of
Ridley Howard interviews painter Jackie Saccoccio about her work and experience of painting in Rome. Asked about the reference to portraitss in her recent paintings, Saccoccio comments: "As a starting point, I focus on portrait painting, mostly works from the 1500-1600’s. The original impetus was going through the Thyssen-Bornemisza Museum in Madrid. The presence elicited
A new essay by Josephine Halvorson examines how sometimes a seemingly ideal subject resists the artist's efforts to capture it, receding into memory before it can be, or should be, realized in paint. Halvorson tells the story of her "attempt to make a painting of a large diesel compressor next to a mine shaft on
Tyler Green talks to painter Philip Taaffe on the occasion of the exhibition Philip Taaffe Recent Work at Luhring Augustine, New York, on view from May 3 - Jun 15, 2013. Commenting on the sources for his work, Taaffe remarks: "I have this idea in my head that I am referencing ancient art and the
Christian Maychack interviews painter Jim Gaylord about his work. Gaylord comments: "[Rorschach is] a very relevant concept for me right now in terms of the symmetry that’s happening in some of the work. I was thinking about why a Rorschach image is symmetrical, and there seems to be a reference to the body—our bodies and
James Panero reviews four painting shows in New York: Dana Gordon & John Mendelsohn: New Paintings at Sideshow Gallery, Brooklyn (through May 12), Jane Freilicher: Painter Among Poets at Tibor de Nagy Gallery (through June 14), Fedele Spadafora: New Paintings at Slag Gallery, Brooklyn, and John Dubrow: Recent Work at Lori Bookstein Fine Art.
A review of the recent exhibition of paintings by Andrew Masullo at Mary Boone Gallery, New York. "The formulaic can be described as a basic formal framework that is repeatedly applied with only minor variations from one work to another. If there is anything that I might call formulaic about Andrew Masullo’s work, it is
Arthur Peña interviews artist Cordy Ryman on the occasion of the exhibition Cordy Ryman: Adaptive Radiation at Dodge Gallery, New York, on view through May 12, 2013. Ryman comments: " I can say that I’m aware that I’m working with a certain visual language which is shared and not mine exclusively. As I’ve used this