Link posts — Page 197

Thanks to Zachary Keeting and Christopher Joy for meeting me at East River State Park, Williamsburg to discuss my work for their incredible video blog Gorky's Granddaughter.

James Kalm visits the studio of painter Greg Lindquist to discuss the work for his recent exhibition You Are Nature at Elizabeth Harris Gallery, New York. Kalm notes that Lindquist uses "various uncontrollable techniques like dripping, splatters and blotting Lindquist crafts pictures that are in dialog with contemporaries like Peter Doig, and Luc Tuymans but

Patrick Neal reviews an exhibition of paintings by Violet Baxter and Charles Marburg at Jeffrey Leder Gallery, New York, on view through March 11, 2012. Neal writes that Marburg's paintings "favor eccentricity over grandiosity, depicting figure/ground fields that either stay put, stacked in small solidly brushed complexes of activity, or awash drifting by, images appearing

Caleb De Jong reviews the an exhibition of paintings by Forrest Bess at Christie's, New York, on view through April 3, 2012. De Jong writes: "Supporting himself as a fisherman in the Gulf, Bess believed his work's symbols were descended from a Universal principle and could be understood by all... Bess, perhaps, believed his mythology

Mary Jones interviews painter Kanishka Raja about his recent series of paintings Switzerland for Movie Stars. Commenting on these new works that juxtapose dream like images of urban environments, Raja notes: "I started thinking about the Hindi movies I saw when I was growing up, and how often the song and dance scenes in the

Gary Wragg reflects on the late paintings of Joan Mitchell, on view at Hauser & Wirth, London through April 28, 2012. Wragg writes that Mitchell's last paintings express "a feel of an embrace and exuberance, a generosity and love of the outdoors, of air, light and being enveloped... Her work has been little seen here

William Corwin reviews the exhibition Bosiljka Raditsa: The Nature of Memory, recently on view at The Painting Center, New York. Corwin writes that "Raditsa has fashioned a vibrant pageant of meditations on color and gesture. Though the paintings are thoroughly abstract, memory is a clear subtext throughout the works, secondary to formalist aesthetic experimentation... The

Charline von Heyl and curator Gavin Delahunty walk through a new exhibition of von Heyl's paintings on view at Tate Liverpool through May 27, 2012. Von Heyl remarks: "What I want to do with the painting is establish this relationship of now… that you are actually in the moment in front of a painting and

James Kalm visits the recent exhibition Glenn Goldberg: elixirs, tales and remedies at Jason McCoy Gallery, New York. Kalm notes: "Embracing a more 'decorative' sensibility, and including compositional elements like perspective, horizon line and floral patterning, Goldberg is shacking up the formalistic parts of his practice, and presenting a new direction for the work which

Brendan S. Carroll reviews the exhibition Benny Andrews, Alice Neel, Bob Thompson at Michael Rosenfeld Gallery, New York, on view through April 7, 2012. Carroll writes: "What the artists in this show have in common is a commitment to paint the people in their lives. To look at these faces and the bodies on view

Merlin James remembers painter Peter de Francia (1921-2012). James writes: "I knew of him as a socialist-expressionist figurative painter and draughtsman with first-hand connections to the Ecole de Paris and various Modernist figures... From the ‘80s onwards he had been mostly drawing. His earlier paintings on canvas had always been very graphic, like his major

Christopher Joy and Zachary Keeting interview painter Julian Kreimer about his work. Kreimer, who paints both plein-air landscapes and in-studio abstractions, discusses his recent abstract paintings: "I started making these as excericses for myself, and they sort of just slowly took over and I realized, just recently, these have a lot to do with the

Christopher Lowrance interviews painter Tom Gregg about his work and studio practice. Gregg notes "the life or presence of the painting as an actual object, is incredibly important to me, and relates to this scale question as well as to the attention I give to the surface qualities of my paintings. The size of the

John Yau reviews a recent exhibition of paintings by Allison Miller at Susan Inglett Gallery, New York. Yau writes: "In her paintings, Miller offers a radical and simple alternative to this organization of daily life. She refuses to take the shortest route, physically, and aesthetically as well, having rejected developing a recognizable style, sign or

As part of his series about under-known artists, Raphael Rubinstein profiles the paintings of René Daniëls. Rubinstein writes: "From today's perspective, Daniëls's points of reference and conscious influences seem impeccable: Polke, Broodthaers, Magritte's periode vache. But we shouldn’t forget how unlikely these choices were for a young painter in the late 1970s. Also worth noting

Jeffrey Collins posts a collection of writings on painting by Joseph Marioni including the essays The Radical Place of Painting, Socrates and the Alligator, and Noting Color. In Socrates and the Alligator Marioni writes: "What I propose, to this gathering of painters, is that we seriously consider a radical break with the problems of the

Steven Alexander blogs about Gene Davis' small works from 1958-1960. Alexander writes that Davis began "in 1958 to make very small paintings that employed vertical stripes and explored elemental rhythms and color resonances. The purity and potency of these first canvases is extraordinary, and their direct simplicity gives way by 1961 to the highly complex

Samuel Cornish considers the work of painter Gary Wragg in relation to provisional painting. Cornish writes "Wragg is also an artist who avoids heroic, definitive or authoritative statements, who posits a vision of art which is as circular, or perhaps labyrinthine, as it is progressive. In all these senses he is provisional, almost with a

Franklin Einspruch reviews the exhibition Renoir, Impressionism, and Full-Length Painting on view at the Frick Collection, New York through May 13, 2012. Einspruch writes: "Perhaps best of all is Acrobats at the Cirque Fernando (Francisca and Angelina Wartenberg), on loan from the Art Institute of Chicago. This 1879 painting depicts young circus performers in gold-fringed

Phong Bui visits with painter Malcolm Morley at his Long Island studio. Having cited Jackson Pollock and Balthus as early influences, Morley says: "Well, the painting's surface in Balthus penetrates directly to your central nervous system, similar to the way Pollock's does, in spite of his paint surface being so different. It's got nothing to