Link posts — Page 214

Paul Behnke photoblogs abstract and figure paintings by Eva Hesse. Eva Hesse Spectres 1960 is on view at the Brooklyn Museum through January 8, 2011.

Cristín Leach reviews an exhibition of paintings by Charles Tyrrell titled Selection from a New Series at the Royal Hibernian Academy, on view through December 21, 2011. Leach writes:"Monochrome surfaces embrace the turmoil while covering most, or all, of it up, yet what lies beneath carries huge weight... If standing stones, field lines and the

John Haber reviews two exhibitions: Ronnie Landfield: Structure and Color at Stephen Haller Gallery (through October 15, 2011) and Carrie Moyer: Canonical (through October 16, 2011) at CANADA. Haber writes: "Both [artists] work in acrylic and let it flow, big time. One can contemplate its color and other pleasures, or one can dive in to

Lucia Simek reviews the exhibition Terrell James: Citizen at Barry Whistler Gallery, Dallas on view through October 15, 2011. Simek writes: " James’ paintings... are each a testament to paint’s pure, fleeting urge to make merry on some surface... The series Field Studies is beautifully installed on the back wall of the larger gallery, featuring

Joanne Mattera reviews and photoblogs the exhibition Douglas Melini, Gary Petersen, Sarah Walker at McKenzie Fine Art, New York, on view through October 8, 2011. Mattera writes: "Each [artist] is working with a geometric vocabulary and saying different things. The resulting exhibition is a retinal workout of differing planes and spatial fields, twists and folds,

Isabella Lores-Chavez discusses an interesting painting by Pietro Longhi, The Painter in His Studio, painted between 1741–44, now on view at the J. Paul Getty Museum. In the painting, she notes, that "Longhi wanted to show the world as it was. The Painter in His Studio shows the intersection of two social realities. The painter

Mario Naves reviews an exhibition of paintings by Robert Schwartz (1947–2000) at Babcock Galleries, New York on view through October 7, 2011. Naves writes: "Schwartz can be fairly neatly fitted into the tradition of Magical Realism, a loosely aligned group of American painters- Jared French is one; Paul Cadmus, another- drawn to enigmatic narratives, hushed

Laurie Fendrich reviews the exhibition de Kooning: A Retrospective at the Museum of Modern Art in New York, on view through January 9, 2012. Fendrich writes: "Many influences lurk in the work - Picasso, Matisse, Gorky, School of Paris contour-driven painting, surrealism, American toothpaste ads (those toothy mouths in his Women paintings). Yet de Kooning

Christopher Knight profiles painter John McLaughlin, "L.A.'s first artist of authentically international stature." Knight notes: "What McLaughlin did with these stripped-down tools remains one of the great achievements in 20th century American art. Ignoring accepted rules, his sophisticated paintings pry open perceptual space. Almost surreptitiously, they grab hold of your optical apparatus and undermine conventional

Phong Bui interviews painter Katia Santibañez about life and her work. Santibañez notes: "I do play with different tonalities. And I do think of them as colors. I also think colors relate to the idea of working with the force of opposition, for example, the vertical against the horizontal lines, and how they find their

Mark Stone questions the future of painting as our connection to nature and the direct experience of the physical world yields to technology, social media, and the 24 hour news cycle: "... because visual painting can no longer be engaged outside the mediated experience, what we are given instead are “painted” objects, things to encounter,

Caleb De Jong reviews Ingres at the Morgan on view at the Morgan Library, New York through November 27, 2011. De Jong writes: "Seventeen drawings in the Library's holdings and three letters are displayed in a single, focused, crystalline room... As direct and immediate as any drawing made in the history of the practice, Ingres

In A Way to Be in the World, Chris Ashley writes about painter Douglas Witmer's Fruitville and School Papers works. Ashley writes: " As in [Witmer's] paintings, where their making is evident, so too in these works Witmer hides nothing; there are no tricks - the skill is in the decisions and finding, the combining

Christopher Joy, Zachary Keeting and Carrie Moyer discuss Moyer's new exhibition Canonical on view at CANADA gallery through October 16, 2011. Moyer generously shares her thoughts on her new painting, her approach to materials, and what she hopes for viewers' experience of the work: "I want them to be like, these little pleasure machines, where

David Moxon blogs about the exhibition Markus Amm at David Kordansky Gallery, Culver City, CA. The press release notes that in Amm's paintings "Relative speeds of painting and looking are played against one another, and the eye slows down in places where it is accustomed to speeding up." Moxon adds: "There is a subtle touch

In a post full of images, Paul Behnke blogs about painter Franz Marc. Behnke writes that Marc's "belief in abstraction and his ability to fuse his life and art serve as a guide to sympathetic artists."

Sharon Butler reviews the exhibition Soundings: Elizabeth Hazan and Jennifer Riley at Janet Kurnatowski, Brooklyn on view through October 9, 2011. Butler writes that Hazan and Riley are both "interested in shape, line, and the emotional content of color... these paintings, lively and original as they are, also offer a sharp comment on mediated experience

With the impending re-discovery of Leonardo's The Battle of Anghiari, long thought to be covered by a commissioned work from Giorgio Vasari, Daniel B. Gallagher takes another look at Vasari's paintings in the Palazzo Vecchio in Florence. "It was there," Gallagher notes, "that Vasari made a triumphal return after two of his staunchest supporters in

Monica Bowen blogs about Colonial Aztec feather paintings. Bowen writes: "...Europeans also were fascinated with feather paintings, not only for their technical skill, but apparently for their delicacy... it doesn’t seem surprising that the Europeans would be drawn to imagery that reinforces the delicacy and fragility (in other words, the weakness) of the Amerindians. And

Robin Meyer reviews the new book William H. Johnson: An American Modern. Meyer writes: "The essays in this collection explore the ways in which Johnson marshaled the ideas and techniques of European modernism to create a highly personal visual language and capture authentically and respectfully the American story with which he was most familiar—that of