Link posts — Page 227

Gary Faigin reviews the exhibition Gabrielle Bakker A Decade: 2001-2011 at Davidson Gallery, Seattle on view through May 28, 2011. Faigin writes that Bakker "cobbl[es] together highly original pictures from a huge array of sources, whose only common element is that the artist finds them worthy. It is one thing to appreciate art and artists

[IMAGES] Great installation photos of the exhibition Emanuel Seitz at Christian Andersen gallery in Copenhagen. The post also includes a short interview with Seitz who discusses his work and practice including making his own colors: "the process of finding these colors plays an important role.. I use several kinds of pigments, which react with each

Seán Hemingway writes about the curious and interesting story of Emile Gilliéron (1850–1924) and his son (also named Emile) who played a significant role in restoring the frescoes at Knossos. The father and son team worked for 30 years at the site and also painted "colorful and carefully crafted reproductions... which were disseminated around the

Sharon Butler posts about the exhibition Wall Works, curated by Stephen Maine, at The Painting Center, NYC on view until May 21, 2011. The artists install and discuss their work in two excellent videos. Wall Works is "an exhibition of painting, drawing and installation engaging the gallery's walls as the primary support and framing device...

Mario Naves writes about painter James Little on the occasion of the exhibition James Little, Ex Pluribus Unum on view at June Kelly Gallery through June 21, 2011. Naves writes: "Favoring tradition over novelty and dogged persistence over glib nihilism, [Little] insists on the viability of modernism as a living resource."

A short essay by Barry Schwabsky written for the exhibition Fade Away curated by Alli Sharma. Fade Away explores "paintings that oscillate between representation and abstraction." Schwabsky writes: "the fact that so many painters today are working along the broad and very porous border between abstraction and images is a sign that this boundary is,

Steven Alexander visits the exhibition Alan Shields, Something Goin' On & On on view at Greenberg Van Doren Gallery, New York through June 24, 2011. Alexander writes that Shields' work is " ...deeply rooted in a ritualization of the painting process and an assertion of art-making as an ancient practice... the large paintings possess a

Larry Groff posts a video of Wayne Thiebaud discussing his work and the work of Morandi. In addition to revealing the direct influence of a Morandi painting on an early painting of sandwiches, Thiebaud discusses a variety of topics including caricature: "If you take something like caricature for instance, which is very much a central

Standard Interview with painter Karl Bielik about his work and creative process. "The feeling that painting is a frustrating and fruitless exercise is never that far away - but when one comes together it makes the hanging-in-there worthwhile."

Sharon Butler posts about the exhibition Erik Saxon: Select Works, 1973-2011 on view through June 11, 2011 at Minus Space, Brooklyn, NY. Butler writes that "Saxon was a core member of the Radical Painting Group active in NYC during the 1970s and 1980s. The RPG stressed a return to the core concerns of painting, focusing

Christopher Knight reviews an exhibition of new work by painter Charline von Heyl on view through June 18, 2011 at 1301PE Gallery, Los Angeles. The exhibition includes drawings and paintings. Knight writes that in von Heyl's work "Mediums... get mixed -- usually oil, acrylic and charcoal, which don't blend but do bleed, clot and scumble,

Bob Duggan reviews an exhibition of paintings by Gabriel Metsu (1629–1667) at the National Gallery of Art in Washington D.C. Duggan writes that the exhibition provides "a glimpse of a contemporary and rival of Vermeer, who seems so unique in the public's imagination." Duggan continues "[Vermeer] sought a 'painterless' style with no visible brushstrokes, Metsu

David Moxon posts about an exhibition of 23 artists that "demonstrates the recurring relevance of illusion and in counterpoint, materiality... the productive play between these two qualities of a marked surface... has brought this group of works together." The exhibition, A Sort of Night to the Mind, A KIND OF NIGHT FOR OUR THOUGHTS, which

In a great post of curated work, Joanne Mattera presents a 'show' of "squares turned on their axis, along with some elongated parallelograms of the shape you might describe as harlequin...[that] reflect a variety of ideas: tectonic shift, Archimedian displacement, spiritual thinking, a textile sensibility, references to the body, constructivist principles, optical challenge, formal push/pull,

Jeffery McNary reviews Megan Euker: Reenactments at Linda Warren Gallery in Chicago on view through May 14, 2011. McNary notes: "The artist brings a determination, an almost obsession to her work in seeking ways to, 'document the moment'... [her] work develops into an intimate rapport. Nothing lurking in the shadows of surrealism…nothing hiding…nothing seething with

Carl Belz, Director Emeritus of the Rose Art Museum, provides fascinating insight into "portraits of dignitaries... an art world that orbited in tandem with the art world [he] knew but never intersected..." Belz tells the story of how he facilitated portrait commissions from the painter George Augusta for Brandeis Univeristy. Augusta, Belz writes, "allowed his

In a post entitled "Functional Splendor" Sarah Osborne Bender blogs about a visit to see August Vincent Tack's (1870 - 1949) last abstract painting - a mural. She writes: "In 1944, as a commissioned project facilitated by Duncan Phillips, Tack created a beautiful mural, called Time and Timelessness (Spirit of Creation), to be used as

Painter Paul Behnke tours several painting exhibitions in Brooklyn including: Louder Milk: Tom Burckhardt at Pierogi Gallery (closed May 8, 2011), One Dozen Paintings at The Journal Gallery (with work by Peter Coffin, Jacob Kasssy, Sam Moyer, Joshua Smith, Sarah Braman, Olivier Mosset, Tauba Auerbach, Dan Walsh, and Leif Ritchey - through May 20, 2011),

Andrew Russeth visits the exhibition Alchemy and Inquiry: paintings by Philip Taaffe, Fred Tomaselli, and Terry Winters at Wave Hill Estate in the Bronx. Russeth writes: "With each artist featured in a separate room, it's easy to see their three distinct visions clearly. My favorite in the tripartite melee is Taaffe, whose paintings are populated

Alan Shipway reviews a monograph on UK painter John McLean. Shipway writes that McLean's paintings "have an open-ended feeling, seeming to lay bare the mechanisms of painting itself, and therefore contributing something very particular not only to British painting but to art as a whole. All ambitious art has this quality of open-endedness - of