David Cohen reviews the exhibition Marina Adams: Coming Thru Strange at Hionas Gallery, New York, on view through March 24, 2013. Cohen writes: "At ease and optically generous as these paintings are, they are actually radically cropped because gestalt depends upon something beyond the canvas itself. The edge of the picture, indeed, rarely defines the
Allison Meier reviews the exhibition Eddie Martinez: Matador at Journal Gallery, Williamsburg, Brooklyn, on view through April 28, 2013. Meier writes: "The taking of an idea and slightly altering it, over and over again, can often be more interesting than the executed initial idea itself... Martinez is experimenting with this idea in an installation of
John McLean remembers painter William Perehudoff (1919 - 2013). McLean writes: "John Golding’s book 'Paths to the Absolute' traces the numinous aspects of abstract painting from their beginnings in the works of Kandinsky, Malevich, and Mondrian to the development of those qualities in the paintings of the Americans Pollock, Newman, Rothko and Still. Perehudoff’s work
Christopher Michno profiles painter Mark Bradford. Michno writes: "Bradford's interest in power structures, emergent when he was at CalArts, has continued to inform his painting, and how he conceptualizes his work. He has always been fascinated by the purity that is attributed to paint and that collage is considered lower than painting in the spectrum
Brent Hallard interview with artist Cecilia Vissers, posted here on the occasion of the upcoming exhibition Cecilia Vissers: Wind Swept at Galerie Kunstkabinett Corona Unger, Bremen, Germany, on view from March 16 - April 28, 2013. Vissers, whose recent relief works engage both sculpture and painting, describes how she uses "chemicals to intensify the colors
Paul Behnke blogs about the striking physicality of Al Held's Alphabet Paintings, on view at Cheim & Read, New York through April 20, 2013. Behnke writes: "an aspect of the work that was particularly meaningful to me - the edges of the canvas where they wrap around the stretchers. These random details are important to
Céline Piettre reviews the exhibition Soulages XXI century at the French Academy in the Villa Medici in Rome through June 16, 2013. Piettre writes that " the majority of the pieces on view are from the past 13 years, which emphasize both the distinctive traits of his ongoing oeuvre as well as more recent departures.
Julia Schwartz interviews painter and Painters' Table editor Brett Baker. Thanks to Julia for the opportunity to discuss my work, including the development of my recent miniature paintings. "Moving from a large studio in the Catskills to a two-room apartment in Manhattan forced me, finally, to consider the role scale played in the work. I
Jacquelyn Gleisner interviews painter Lisa Sanditz about her work. Sanditz comments: "I paint what I experience, or read about or see in the landscape that seems to reflect some absurdity, or tension or metaphor for the culture at large. I often seek out places that have a compelling visual element as well. This is because
Valerie Brennan interviews painter Joel Longnecker about his work and process. Longnecker comments: "I’m after an organic, generative process where one thing slowly leads to another with each piece resolving itself in it’s own way. Working like this makes it impossible for me to duplicate what I’ve already done, keeping the process open and alive.
Carl Belz recalls how the installation of the 1981 exhibition Frankenthaler: The 1950s at the Rose Art Museum became "a memorable collaboration with the artist herself." Belz writes: "We walked through the show together, Helen looking quietly at the pictures, remembering them, for in many cases she had not seen them in the flesh since
Yifat Gat interviews artist Pete Schulte about his art and practice. Gat notes that Schulte works "with graphite on paper but the result feel like 'a painting' not like 'a drawing'. " Schulte reponds, commenting that "artists from Bonnard to Richard Serra have linked the act of drawing to thinking – an observation with which
Robin Blake reviews the exhibition Barocci: Brilliance and Grace at the National Gallery, London, on view through May 14, 2013. Blake visits the show seeking answers to the assertion, by the Director of London’s National Gallery, that "the now obscure Federico Barocci of Urbino, was a better painter than his contemporary El Greco."
Alan Shipway reviews the exhibition Derek Roberts: Northern Paintings at Inverleith House in Edinburgh, on view through April 14, 2013. Shipway writes: "It is painting which has decorative qualities, but whose complex visual intensity transcends its being merely decorative. This complexity seems to have to unfold over time for the onlooker like nothing else contemporary:
Caleb De Jong reviews Philip Guston: A Centennial Exhibition at McKee Gallery, New York, on view through April 20th, 2013. De Jong writes: "Guston's painting stands slightly apart from time, his own and our own. Yet within Guston's art is a continuity of formal and conceptual concerns that in retrospect makes Guston's entire career more
Painter's Bread
Michael Rutherford interviews painter Amanda Friedman about her work and studio practice. Friedman's work was recently on view at Eli Ping, New York. Rutherford writes that "the expansive, sprawling swaths of paper that Amanda Friedman refers to as Thought-forms have pulled me into their orbit and provided plenty to think about. The painted surfaces, existing
Dar Dowling interviews painter Gary Petersen whose work is currently on view in the group show Tectonic Drift at Brian Morris Gallery, New York, through March 16, 2013. Petersen comments: "The vocabulary I use has developed over time and begins with my interest in line: how line defines a space, echoes the edge and also,
Joanne Mattera blogs about two exhibitions on the Lower East Side: Jason Karolak at McKenzie Fine Art (on view through March 17) and the recent show Sarah Walker: Drift at Artifact. Mattera writes that "Karolak pulls you into his visual webs, cubicular orgies of analogous color that suggest the containments of architecture or conversely, mathematical
Jennifer Samet reviews the exhibition Margaret Grimes, A Retrospective, at Western Connecticut State University, on view through March 14, 2013. Samet writes: "Margaret Grimes’s paintings are about vastness, not just the all-encompassing kind, but also vastness at the molecular or cellular level. She paints the individual leaf and the entire screen of the forest." Samet
On the occasion of the exhibition Manet: Portraying Life at the Royal Academy, London (on view through April 14, 2013), Ben Wiedel-Kaufmann examines the paintings of Manet and the failure of language to capture the "complex tying together of propositions, the psychological nuances and the suspension of time that characterise our experience of painting." "Wrapped