Link posts — Page 20

Barkley Hendricks writes about painter Louis Sloan. Hendricks notes: "Louis Sloan was an under-recognized painter who happened to be a 'Black Artist' who didn’t do 'black art.' His main focus was the beauty of the planet; landscapes were an example of his raison d’etre ... His influence followed me into my studio many years after

Jason Ramos reviews Claire Tabouret: Eclipse at Night Gallery, Los Angeles, on view through March 4, 2017. Ramos writes: "Half-way between the vibrant exuberance of Rebecca Campbell’s images and Luc Tuyman’s clinical stroke-by-stroke reproductions lay the gliding, neutral toned figures of LA based French painter Claire Tabouret... The figures in the larger works and monoprints

Amanda Manitach reviews the recent exhibition Emily Gherard: Making Presence Known at Bridge Productions, Seattle. Manitach writes: "In [Gherard's] most recent series ... scale has diminished—dwarfed. Many of Gherard’s panels are smaller than the palm of a hand. Yet the bijou-sized pieces are encrusted with material that has a density as yet not experienced in

Barbara Rose interviews painter Christopher Le Brun. Le Brun comments: "Painting wants to be spatial. It has a compass in it that switches to north, and the north of painting is space... But painting is also—which is not said enough, at a high level—extremely difficult. Because you’re not trying to simplify the situation, you’re trying

Paul Carey Kent reviews and compares two versions of the exhibition Abstract Expressionism, first on view at the at the Royal Academy, London this past fall and currently on view at the Guggenheim Museum, Bilbao, Spain (through June 4, 2017). Kent concludes: "In all respects, then, Bilbao was superior to London, and what had seemed

Larry Groff interviews painter Joan Wadleigh Curran. Curran remarks: "I think of my approach as a kind of hybrid involving careful description that incorporates still life and a kind of portraiture. I find objects seductive and hope for a kind of animism in how I paint them. I am particularly interested in the power of

Frances Spalding reviews Joan Eardley: A Sense of Place is at the Scottish National Gallery of Modern Art, Edinburgh, on view through May 21, 2017. Spalding writes: "[Eardley's] intense looking and her method of drawing affirm her admiration for Van Gogh, and an affinity between her urban work and his involvement with the coal mining

Robert C. Morgan reviews Jean Dubuffet and Larry Poons: Material Topologies at Loretta Howard Gallery, New York, on view through February 18, 2017. Morgan writes: "We know that both [Dubuffet and Poons] are painters, but culturally, they appear to have been informed by different attributes regarding scale and color, line, and force of visual impact...

Sharon Butler reviews works by Katharina Grosse at Gagosian Gallery, New York, on view through March 11, 2017. Butler writes: "The strength of Grosse’s past work rested in the clever, audacious way she combined paint and physical structure. These new paintings on canvas, though ambitious and slick in terms of energy and scale, lack the

Michael Hofmann reviews Max Beckmann in New York at the Metropolitan Museum of Art, New York, on view through February 20, 2017. Hofmann writes: "One of the interesting things about Beckmann is how much the paintings moved and morphed under him. The form of the triptych was arrived at adventitiously; he simply had more material

Martin Mugar considers the paintings of Lorraine Shemesh. Mugar writes: "Whereas [Shemesh's] earlier painting retained the notion of an observation of swimmers in a recognizable setting, the latest work puts the observer in with the observed. She does not rely on a romantic search for connections between herself and the environment that allows [Edwin] Dickinson

Martin Gayford reviews Victor Pasmore: Towards a New Reality at Djanogly Gallery, Nottingham Lakeside Arts, on view through February 19, 2017. Gayford observes: "Few artists made more abrupt stylistic swerves. Consequently, [Pasmore's] career was a thesaurus of all the possibilities open to a 20th-century painter, from dingy social realism to millenarian modernism."

Hrag Vartanian reviews Tamara Gonzales: Ometeoli at Klaus von Nichtssagend Gallery, New York, on view through February 11, 2017. Vartanian writes: "Gonzales is known for incorporating visual culture that has traditionally been more associated with lived culture — lace, graffiti, embroidery, textiles — rather than the world of art galleries. ... Her true subject matter

Charles A. Riley II reviews Willem de Kooning | Zao Wou-Ki at Lévy Gorvy Gallery, New York, on view through March 5, 2017. Riley writes that the show "features more than 20 paintings from the two artists’ absolute peak decades, the ’40s through the ’70s ... The initial presentation certainly makes the case for one

Painter José Heerkens reflects on color and the work of Josef Albers. "Even knowing that visual language is a totally different language than the language of words, each acting on its own level, color is still a very difficult subject to describe. Any form can be described, but trying to catch color in words is

David Carrier reviews Postwar: Art Between the Pacific and the Atlantic, 1945–1965 at the Haus der Kunst, Munich, on view through March 26, 2017. Carrier concludes: "This powerful exhibition changes permanently your sense of the history of postwar art. It demonstrates that it is now possible to present a world art history in which the

Ron Morosan reviews Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965 at the Grey Art Gallery, New York University, on view through April 1, 2017. Morosan writes: "As we examine more of the evidence presented in Inventing Downtown we start to see how this exhibition shows the missing link in the development of what

Matthew Sperling writes about David Hockney's pool paintings. A retrospective of works by David Hockney will be on view at Tate Britain from February 9 - May 29, 2017. Sperling writes: "... on arrival in California ... one particular feature of the architecture, previously only seen in black and white photographs, struck Hockney with fresh

Jarrett Earnest interviews painter Jack Whitten whose work is on view at Hauser & Wirth, New York through April 8, 2017. Whitten comments: "Without a doubt, the sculpture has had more influence on my painting than anything else. The concept of light is different in a sculptor’s mind than it is in a painter’s. When

John Yau reviews Eleanore Mikus: Tablets and Related Works, 1960–69 at Craig F. Starr Gallery, New York, on view through March 25, 2017. Yau rites: "[Eleanore Mikus] brought together nuance and structure, making them into a subtly captivating experience... she is clearly uninterested in the perfection we associate with the Minimalist aesthetic, and with artists