Julie Beckers reviews the exhibition Luca Signorelli: de Ingegno et Spirto Pelegrino (ingenuity and pilgrim spirit) at Perugia, Orvieto, Città di Castello through August 26, 2012. Beckers notes that the show allows for a comparison between Piero della Francesca and Signorelli. She writes: "The influence Piero della Francesca had on the young Signorelli is unmistakable
Laura Gilbert reviews the exhibition Bellini, Titian, Lotto: North Italian Paintings from the Accademia Carrara, Bergamo at the Metropolitan Museum, New York, on view through September 3, 2012. Gilbert writes: "There's a dead Christ with the Virgin Mary and St. John by the great Venetian painter Giovanni Bellini -- emotional and simply yet subtly colored
Ilka Scobie reviews the exhibition Martha Diamond: Bright Brush Paintings at Sue Scott Gallery, New York, on view through July 27, 2012. Scobie writes that "the abbreviated brushstrokes [Diamond's] now using create gestural markings and simplified imagery, leaping from the austere though under-painted Pentimento to the linear brevity used to playfully depict weather in Blue
John Yau visits the studio of painter Joanne Greenbaum and looks at Greenbaum's other body of work - ceramics - and the relationship between the two modes of working. Yau writes: "The layering and structuring going on in Greenbaum's current paintings are swayed by her exploration of ceramics. I see her interest in glazes, and
James Kalm visits the exhibtion Rodney Dickson New Paintings at Gasser & Grunert, New York, on view through July 13, 2012. In the video Kalm talks with Dickson about the exhibition. Kalm notes that the show "displays examples of some of the most heavily pigmented oil paintings currently being produced in New York. A luminescent
A new video introduces the exhibition Turner Monet Twombly: Later Paintings at Tate Liverpool, on view through October 8, 2012. In the video Mike Leigh, Nicholas Serota, and painter Fiona Rae discuss shared qualities between the three artists in the show and the freedoms exhibited by artists later in their careers.
Barbara Hobot reviews the recent survey exhibition of Canadian painting, 60 Painters at Humber Arts and Media Studios, Ontario, Canada. Hobot writes that the show "provided visitors with a recent trajectory through contemporary painting. They were allowed to draw connections between the works of established artists and those of more emerging practitioners. Influences were traced
Tom Chen blogs about the work of Swiss painter Caro Niederer now on view at Hauser & Wirth, New York through July 27, 2012. Chen writes that Niederer's recent work focuses on "everyday subjects, like a kitchen table with a vase of flowers, a street in front of her home, or the basketball court where
Austin Thomas photoblogs a visit to the studio of painter Meg Lipke. Thomas writes that Lipke employs an "expressive painterly technique employing hot beeswax and India-ink with acrylic paints and fabric dyes. Her surfaces are gorgeous, luminous and distinct."
John Seed writes about the trend toward "slow looking" he observed recently at the exhibition Richard Diebenkorn: Ocean Park at the Orange County Museum of Art and traces its roots to the Rothko Chapel commission. Seed writes that at the Diebenkorn show he had "noticed that the galleries were unusually hushed, and that people were
Roberta Smith reviews five concurrent New York exhibitions embracing various strains of contemporary painting: Everyday Abstract - Abstract Everyday at James Cohan Gallery (through July 27), Context Message at Zach Feuer (through Aug 12), Painting Space at Luhring Augustine (through August 17), Stretching Painting at Galerie Lelong (through August 3), and The Big Picture at
Tyler Green talks to curator Sarah Bancroft and conservator Ana Alba about the exhibition Richard Diebenkorn: The Ocean Park Series, on view at the Corcoran Gallery of Art, Washington D.C. from June 30 - September 23, 2012. Bancroft notes that the Corcoran exhibit includes both Ocean Park #6 and Ocean Park #11, the "earliest paintings
Vincent Como reviews the exhibition Ken Weathersby: Strange Fit at Pierogi, on view through July 1, 2012. Como writes: "The particular tropes in place that I find fascinating are the overabundance of structure and support creating a tension between finished surface and a rigid yet organic outgrowth of materiality, all used in a format which
Sharon Butler blogs about Edvard Munch's - on view in the exhibition Edvard Munch: The Modern Eye at Tate Modern through October 14, 2012. Butler writes that the show "focus[es] on the neglected aspects of [Munch's] often radical work, particularly his use of film and photography..." She also calls attention to a fascinating group of
Andy Parkinson blogs about the exhibition Double Vision, curated by Katrina Blannin, at at Lion and Lamb Gallery, London, on view through July 14, 2012. Parkinson writes that the show's title "alludes to 'notions of double layering in painting, whether material, compositional or theoretical.' It explores binary oppositions like figure/ground, surface/depth, symmetry/asymmetry and chance/system, oppositions
Bascove looks at the work of Valeri Larko whose paintings are on view in the exhibition Keeping it Real at J. Cacciola Gallery, New York through July 28, 2012. Bascove writes: "This exhibit particularly reflects the rich material Larko has explored in the Bronx. 'Bronx Drawbridge' is a powerful example of an image that evokes
Painters Greg Lindquist and Tom McGrath discuss their approaches to landscape painting and its place in a world dominated by technology. Responding to Lindquist's question about how his paintings relate to photography and technology, McGrath remarks: "Technology is everything. Photo-wise, it's the old cliche about Impressionism as the secret child of photo, and Pointillism being
Joshua Abelow interviews painter Ted Gahl about his work. Gahl remarks: "I enjoy the subtle palettes and pictorial simplicity in a lot of abstract/minimal work. At the same time, I am a sucker for purely figurative paintings. I continually employ elements of both to keep it interesting for myself, and hopefully, the viewer. I don't
Looking at Untitled, 1951, a largely monochromatic canvas by Clyfford Still, Chris Rusak finds clues to the contradiction between Clyfford Still's caustic rhetoric and the obvious "joy" he took in his work. Rusak writes: "when an artist decides to introduce a proportionally diminutive amount of color into an otherwise achromatic composition, the power of each
Elana Hagler interviews painter Jordan Wolfson about his work and process which includes "representational" and "abstract" paintings from observation. Wolfson notes that he is interested in "the twin attitudes of the visual and the tactile and how they align with a more representational or more abstract mode of working... all the work is done while