John Warwicker interviews artist Karl Hyde on the occasion of the exhibition Karl Hyde What's Going on in Your Head When You're Dancing? at Bernard Jacobson Gallery, London, on view through July 17, 2012. Hyde remarks: "I've been inspired for years by the working process' of Zen calligraphers, in particular their meditation into the paper
Paul Behnke photoblogs images from the exhibition There Are No Giants Upstairs at Theodore:Art, Brooklyn through July 29, 2012. The show features paintings by Chris Baker, Harriet Korman, Mel Bernstine, Gary Petersen, Steven Charles, and Andrew Seto; a group of artists that James Panero recently noted "share is a deeply felt relationship to paint and
In the first of a series of posts about painting and color, Joanne Mattera blogs about several recent New York exhibitions including Anne Truitt: Drawings at Matthew Marks Gallery, Anne Appleby: Paintings at Danese Gallery, Julian Jackson: Crossing at Kathryn Markel Fine Arts, Stuart Shils: The Residue of Memory at Steven Harvey Fine Art Projects,
Chris Ashley considers the paintings of Daniel Levine on the occasion of the exhibition Daniel Levine: Marker at Some Walls, Oakland, CA, on view through August 26, 2012. Ashley writes "for convenience sake Levine's paintings might be called monochromes, as they tend towards Monochrome Painting, let's not choose convenience. Let’s say that Levine's paintings are
Caleb De Jong reviews the exhibition Unknown Corot: Unpublished Drawings at Jill Newhouse Gallery, New York, on view through July 20, 2012. De Jong writes: "Mostly landscapes with lone figures scattered throughout provincial French environs, Corot's drawing moved from David's neo-classicism to later washy painterly charcoal drawings that pre-date Frank Auerbach's drawings of Primrose Hill
Charles Kessler blogs about several impressive painting exhibitions currently on view at the 56 Bogart building in Bushwick, Brooklyn including: Shingo Francis: Bound For Eternity at Bogart Salon (through July 23), There Are No Giants Upstairs at Theodore:Art (through July 29), Text at Studio 10 (through July 22) and Claudia Chaseling: Infiltration at Slag Gallery
James Gibbons reviews the exhibition Richard Diebenkorn: The Ocean Park Series, on view at the Corcoran Gallery of Art, Washington D.C. through September 23, 2012. Gibbons writes: "The interplay of cultivation and erasure that [Dibenkorn] discerned from his bird's-eye perch offers one way to grasp Diebenkorn's later abstractions, which often evoke the sensation of being
Claire Gilman blogs about the exhibition Ellsworth Kelly: Plant Drawings, on view at the Metropolitan Museum of Art, New York through June 5–September 3, 2012. Gilman writes that "Kelly has called the plant drawings 'a kind of bridge to a way of seeing that was the basis of the very first abstract paintings,' and indeed,
Amanda Church interviews painter Gary Petersen about his work which is on view in the exhibition There Are No Giants Upstairs at Theodore:Art, Brooklyn through July 29, 2012. Petersen remarks: "my work does not 'abstract' from nature, it is just that all these things are in you and if you are in touch with these
David Moxon blogs about the recent exhibition Alexis Harding: Substance and Accident at Mummery + Schnelle, London. Moxon writes: "Harding is one of Britain's most interesting painters working in abstraction today. Underlying even the most structured of appearances, randomness and chance are at the helm, and it is these concepts that prevail in the workings
Andrea Kirsh reviews the exhibition Gauguin, Cézanne, Matisse: Visions of Arcadia at the Philadelphia Museum of Art, on view through September 3, 2012. Kirsh writes: "In terms of the exhibition's theme one has to ask, why this subject then? And why such monumental paintings? The previous avante-garde had pointedly rejected the hierarchies of the Academy,
Jenni Higginbotham interviews painter Joan Watts about her practice and the works in her recent exhibition Poems & More at Charlotte Jackson Fine Art, Santa Fe. Watts remarks: "I am very attracted to reducing the means by which I create... that has been a process I have been going through ever since I moved to
Caleb De Jong reviews the exhibition Caro Niederer Paintings at Hauser & Wirth, New York, on view through July 27, 2012. De Jong writes: "Niederer's transformation of photograph to hand-made object informs her entire practice... [Her] pre-existing source material, family snapshots, postcards, Indian erotic imagery, is twirled through her chosen medium, in this case paint...
In the second segment of his weekly podcast, Tyler Green talks with curator Karen Wilkin about the exhibition American Vanguards: Graham, Davis, Gorky, de Kooning and Their Circle, 1927–1942, on view at the Amon Carter Museum, Fort Worth, Texas through August 19, 2012. (Note: the first segment is an interview with artist Barbara Kruger, Wilkin's
Jennifer Samet interviews painter Matt Phillips about his work and process. Phillips remarks: "I'm interested in working with these things that are dumb fundamental components of visual language – the square, the triangle, the octagon, the stuff that is in everyone's kitchen sink, the stuff that everyone knows. If you work with simple components, and
Brendan S. Carroll reviews the exhibition Material Tak at Panepinto Galleries, Jersey City, New Jersey, on view through July 15, 2012. Carroll writes: "What can contemporary abstract painting tell us about the medium today, and why does it continue to stir the soul? To answer these questions, artist Kara Rooney, the curator of Material Tak
Mark Stone muses on painting in an age where innovation of the medium is no longer possible. Stone writes that "the absolute truth is that we can not do anything more to painting. The 600 or so years of Western painting has gone full circle. It's ALL been done – from a to z. And
Adam Walker visits the exhibition Double Vision, curated by Katrina Blannin, at at Lion and Lamb Gallery, London, on view through July 14, 2012. Walker writes: "As eluded to in the title, this exhibition of contemporary abstract painting sets out to explore a series of binary oppositions: figure and field, surface and depth, chance and
Mari Carmen Ramírez interviews artist Guillermo Kuitca. Kutica comments: "Many times the voice of an artist unfolds into a painting. I do not think that painting is a torch that has to be passed, nor is it a tradition that has to be maintained. Painting is a very resistant medium, but my intention is to
Matt Jones interviews painter Kadar Brock about his work and practice. Brock comments: "I don't think about the body in a direct or traditional sense, but... they are very physical paintings. I make them laying on top of them, pushing into them, scraping away at them, sanding them and so on. And I touch them,