Link posts — Page 19

Laura Cumming reviews America After the Fall: Painting in the 1930s at the Royal Academy of Arts, London, on view through June 4, 2017. Cumming writes: "In the truest sense, these works are signs of the times. They hold an entire American decade intact with their images of factories, docks, gas pumps and turbines, of

Jennifer Samet interviews painter Craig Stockwell whose work is included in the 2016 deCordova New England Biennial, at the de Cordova Sculpture Park and Museum, Lincoln, Massachusetts, on view through March 26, 2017. Stockwell remarks: "In our contemporary political moment, there is a conversation about control and freedom happening — on both sides. The conversation

Maika Pollack reviews Icons of Modern Art: The Shchukin Collection at The Fondation Louis Vuitton, Paris, on view through March 5, 2017. Pollack writes: "A single room in which 13 vast Matisse paintings hang is the highlight of the exhibition. These are only a fraction of Shchukin’s 43 Matisses, but each is a knockout: In

James Kalm visits an exhibition of new works by Ron Gorchov at Cheim & Read, New York, on view through March 25, 2017. Kalm notes: "Known for his unique 'saddle-shaped' canvases, Gorchov is also appreciated for his light touch and elegant color sense. There’s a natural seductiveness to the shaped supports, and the manifest process

Irena Jurek interviews painter Trudy Benson whose work will be on view at Ribordy Contemporary, Geneva (March 23 - May 11) and Galerie Bernard Ceysson, Paris (March 24 - May 13). Benson comments: "my work in the past had been so invested in digital media as a reference. It was an interesting enough idea for

Jonathan Stevenson reviews David Humphrey: I’m Glad We Had This Conversation at Fredericks & Freiser, New York, on view through February 25, 2017. Stevenson begins: "David Humphrey’s visual and intellectual virtuosity – augmented by the smooth surface finality of meticulously applied acrylic paint – is such that he seems to accomplish everything he wants in

Daniel Gerwin reviews Steve DiBenedetto: Novelty Mapping Picnic at Cherry and Martin, Los Angeles, on view through March 4, 2017. Gerwin writes: "'Influx' (2016) is my favorite piece — a little carnival of a painting whose stunning relationships of hot pinks, acrid greens, and chilly yellows has such a mystifying surface that even after DiBenedetto

Peter Schjeldahl reviews Alexei Jawlensky at the Neue Galerie, New York (through May 29) and Vija Celmins at Matthew Marks, New York (through April 15). Schjeldahl writes: "... The [Jawlensky] show ends with the kicker of a room of small, even tiny, paintings, unfamiliar to me, of an abstracted face. A black stripe serves for

Ella Coon reviews Aubrey Levinthal: Refrigerator Paintings, recently on view at The Painting Center, New York. Coon writes: "The paintings’ quotidian content, fragmented imagery, and color choices make the pieces feel both elusive and earthy. When looking at the works together in the tiny space, the viewer is reminded of not only the bodily activity

Allison Meier previews Turner’s Modern and Ancient Ports: Passages through Time which will be on view from at the Frick Collection, New York, from February 23 to May 14 , 2017. Meier writes: "Along with the era’s modernization and freedom of exchange, Turner’s Modern and Ancient Ports considers the artist’s obsession with light in his

Brent Hallard interviews artist Emma Coulter. Coulter notes that "opticality and the illusion of form, these things really just happen through the positioning of two-dimensional paint. I guess this is one of the things I’m wanting to work with – the idea of the architectural space being as important as the art in terms of

Leah Ollman reviews Mimi Lauter: Interiors at Tif Sigfrids, Los Angeles, on view through March 4, 2017. Ollman writes: "Mimi Lauter's enthralling drawings have a visual grammar all their own. Their sense of scale is elusive and independent of their physical size. They feel immersive, whether small as a notebook page or large enough to

Alan Gouk reviews Icons of Modern Art. The Collection Shchukin at The Fondation Louis Vuitton, Paris, on view through March 5, 2017. Gouk writes: "This is what was so apparent in the confrontations afforded here, however many times one may have seen some of these pictures in different contexts and settings; how solidly and succulently

David Rhodes reviews Painting Paintings (David Reed) 1975 at Gagosian Gallery, New York, on view through February 25, 2017. "In the context of painting in the ’70s, which sought to proscribe illusionism and favor complete material literalism, the paintings are pictures, as well as process. Not only do they record—actively conveying different configurations, speeds, and

Anna McNay reviews Vanessa Bell: 1879-1941 at the Dulwich Picture Gallery, London, on view through June 4, 2017. McNay concludes: "[Bell's] art and her life were inextricably intertwined: as her art was her life, so her life was her art. As [curator Ian A C ] Dejardin notes, in his preface to the exhibition catalogue:

John Yau reviews Chuck Webster: Look Around at Betty Cuningham Gallery, New York, on view through February 18, 2017. Yau writes: "'Liberty or Death' is a breakthrough painting for Webster and, in that regard, a major step for this artist, whose work is always interesting. For one thing, he has opened up a vast space

Andy Battaglia profiles painter Adrian Ghenie whose recent paintings are on view at Pace Gallery, New York through February 18, 2017. Battaglia notes: "Compositions can be figurative, [Ghenie] said, but the power of painting—when it has any power at all—is less in the cause than in the effect. And that effect is abstract regardless of

James Kalm visits an exhibition of new paintings by Sandro Chia at Marc Straus Gallery, New York, on view through April 2, 2017. Kalm notes: "In this, his first major show with Marc Straus Gallery, [Chia] shows a group of recent paintings, many featuring single figures accompanied by animals. Chia’s masterful feel for the painter’s

David DiMichele reviews Frank Stella: A Retrospective at the de Young Museum, San Francisco, on view through February 26, 2017. DiMichele notes: "The decorative quality in many of Stella’s paintings, particularly the protractor series from the late 1960s, has led many writers to compare him to Matisse, the master of color, but I see him

John Held, Jr. considers Japanese Gutai and its influences and impact in light of three San Francisco exhibitions: Kazuo Shiraga & Kour Pour: Earthquakes And the Mid Winter Burning Sun at Ever Gold Projects (through March 18), Tsuyoshi Maekawa, Alberto Burri, Lucio Fontana, et al.:Beyond Matter at Gagosian San Franciso (through March 18), and Japanese