Link posts — Page 16

Charlotte Wilder profiles painter David Driskell on the occasion of David Driskell: Renewal and Form at the Center for Maine Contemporary Art, Rockland, on view through May 11, 2017. Wilder writes: "Driskell’s work marries the natural with the spiritual, and he’s known for incorporating the iconography of Christianity and of various African and Afro-Atlantic traditions...

Tatiana Istomina profiles painter Henry Taylor whose work is included in the The 2017 Whitney Biennial at the Whitney Museum of American Art, New York, on view through June 11, 2017. Istomina begins: "Henry Taylor's painting has often been discussed in the context of outsider art not only because of his vivid and somewhat reductive

Tom McGlynn reviews Al Taylor: Early Paintings at David Zwirner Gallery, New York, on view through April 15, 2017. McGlynn writes: "What at first may underwhelm, in other words, can become an inexorable undertow that sets any preconceived notion of painting adrift in a sea of local allusion and wandering association...There is a token of

James Kalm visits Sean Scully: Wall of Light Cubed at Cheim & Read, New York, on view through May 20, 2017. The gallery press release states that "In this show, Scully underscores the interplay between his two-dimensional and three-dimensional work, employing an expansive array of forms and materials, including oil and spray paint, watercolor, graphite,

Emily Spicer reviews Michelangelo and Sebastiano at the National Gallery, London, on view through June 25, 2017. Spicer writes: "For 25 years, give or take, Michelangelo and Sebastiano were close friends, a friendship apparently born from the former’s rivalry with Raphael. Michelangelo was godfather to one of Sebastiano’s children and when Sebastiano had a crisis

Zachary Small reviews Beverly Fishman: DOSE, curated by Nick Cave, at the CUE Art Foundation, New York, on view through April 5, 2017. Small writes: "Similar to the industrial character of her color palette, Fishman’s pills have a glossy, plastic finish. This is another red herring, an effect that might lead a viewer to believe

Dodie Kazanjian profiles painter Lynette Yiadom-Boakye whose exhibition Under-Song For A Cipher will be on view at the New Museum of Contemporary Art, New York, from May 3 - September 3, 2017. Kazanjian writes: "Most [of Yiadom-Boakye's paintings] are large-scale, single-figure studies whose faces, set against loosely brushed dark backgrounds, look directly at the viewer.

Larry Groff interviews painter Richard Raiselis. Raiselis comments: " I often say that I paint what I see. I do my best to paint the differences that I perceive where colors touch, both inside a form, like the change of color on the sunny and shady sides of a house; and outside the form, like

Alex Greenberger remembers painter Julian Stanczak (1928 - 2017) who passed away March 25. Greenberger writes: "Stanczak’s acrylic paintings often tended toward brightly colored shapes and grids. Typically made through contrasting unlike hues, Stanczak was able to create compositions that are jarring to the eye. They highlight the act of seeing, in the process showing

Addison Parks considers the paintings of Thomas Berding whose exhibition Paintings from the Surplus Mound is on view at The Painting Center, New York through April 22, 2017. Parks observes: "Glorious color goes hand in hand with his loosely defined and multi-layered shapes and structures. It is at the heart of this process of making

Ilana Napoli reviews Images and Notes from the Floating World, works by Tyler Wilkinson & Claes Gabriel recently on view at University City Arts League, Philadelphia. Napoli writes that "both [artists] describe their relationships with painting as a physical experience. For Claes, painting is a fight. He refers to his sculptural paintings, which evoke totems

Lidija Haas reviews Marisa Merz: The Sky is a Great Space at the Met Breuer, New York, on view through May 7, 2017. Haas writes: "What appear to be Merz’s most recent works – paintings of large saintlike female figures in rich golds and reds and blues – seem a little less subtle than the

David Carbone reviews Timothy Hyman’s new book The World New Made: Figurative Painting in the Twentieth Century, published by Thames & Hudson. Carbone writes: "this [book] is not so much an 'objective' survey as a personal examination of specific works from the vastness of twentieth century achievements that Hyman believes can serve as a foundation

Julie Beckers reviews Rik Wouters: A Retrospective at the Royal Museums of Fine Arts of Belgium, Brussels, on view through July 2, 2017. Beckers writes: "[Wouter's] colourful work is characterised by authentic and touchingly simple depictions without hidden iconographical messages. ... Wouters’ strive to develop a strong interest for light in his depictions succeeds in

John Moore reflects on Pierre Roy’s Metric System (1933) in the collection of the Philadelphia Museum of Art. Moore writes: "While objects like the transit in Roy’s work were undoubtedly found in his studio, the context, like the room in Metric System, was likely invented and existed only in his paintings. He apparently began by

Cate McQuaid reviews Dana Clancy: Sightlines at Alpha Gallery, Boston, on view through April 5, 2017. McQuaid writes: "[Clancy] transforms vitrines, windows, the glass surrounding the MFA’s courtyard, and the Isabella Stewart Gardner Museum’s greenhouse into mirrors and lenses. Images bounce and bend, rippling through and transforming familiar places into enigmas.... Ordinarily, we parse experience

Ann Landi profiles painter Julian Hatton, whose exhibition Free Range will be on view at Elizabeth Harris Gallery, New York, from April 20 - June 3, 2017. Hatton tells Landi: "I consider the small ones complex little worlds where there’s enough information for me to crawl in there psychologically ... To some degree, my paintings

Matthew Collings reviews Howard Hodgkin: Absent Friends at the National Portrait Gallery, London, on view through June 18, 2017. Collings writes: "[the show] ... emphasises that [Hodgkin] would cling to subject matter as a taking-off point even though he always departed into abstract realms — but always returned as well, making it clear somehow that

Deanna Sirlin writes about the work of David Reed on the occasion of Painting Paintings (David Reed)1975 on view from April 1- May 21, 2017 at 356 S. Mission Rd, Los Angeles, California (and recently on view at Rose Art Museum at Brandeis University and Gagosian Gallery, New York). Sirlin observes: "In each decade of

William Eckhardt Kohler reviews Jennifer Coates: All U Can Eat at Freight + Volume Gallery, New York, on view through April 16, 2017. Kohler writes: "With wry humor and a sense of the absurd [Coates] finds these mythic energies embedded in some of the most degraded and cast off of places: the toxic and synthetic