[IMAGES] Installation photos from the exhibition Provisional Painting on view at Modern Art London through May 25, 2011. The exhibition, curated by Raphael Rubinstein, takes it's title and premise from Rubinstein's 2009 essay "Provisional Painting" in which he writes: "Provisional painting is not about making 'last paintings', nor is it about the deconstruction of the
Interview with Painters' Table editor Brett Baker about his work and studio practice. "Studio spaces have definitely impacted my work. In 2003 I moved from a huge, dream studio in upstate New York to a tiny New York apartment... I still wanted to make large paintings and thought I could, perhaps, make 'big' small paintings.
Laura Gilbert reviews the exhibition Soutine/Bacon on view at Helly Nahmad Gallery through June 18, 2011. Gilbert writes: "Like a good museum show, it's tightly focused. It pairs paintings by Francis Bacon... with those of Chaim Soutine... whom Bacon considered a 'formative' influence -- a fresh context for both."
Joshua Abelow visits the sutdio of painter Gary Stephan. His post includes photos of paintings in progress, sketchbooks and drawings.
Steven Alexander visits Willem de Kooning: The Figure: Movement and Gesture on view at Pace Gallery through July 29, 2011. The exhibition, Alexander writes, is "a remarkable selection of rarely seen paintings and drawings, plus a few sculptures... this group features some amazing works from the time de Kooning first arrived in his new studio
Edward M. Gómez looks at abstract painting through the lens of several artists including Joan Mitchell, Louise Fishman, Karl Klingbiel, Gene Mann, and Madeleine Spierer. These painters, Gómez writes, "understand that the ambiguity that is [abstraction's] essence is also its great poetic strength."
Neil Plotkin interviews London-based painter Robert Dukes. Dukes discusses his life and work including his time in art school and painting after the old masters. He also discusses a hiatus from, and return to, painting through "the painting of a coffee mug (1998)... Finally, a realised image as opposed to the gestural paintings I’d been
Franklin Einspruch reviews Jane Freilicher: Recent Paintings and Prints at Tibor de Nagy Gallery on view through June 3, 2011. Einspruch calls Freilicher "... one of the last true scions of Giorgio Morandi," he continues "she combines a probing touch with a keen color sense to produce paintings of visceral power out of all proportion
Sharon Butler reviews Jimbo Blachly, Lanquidity, at Winkleman Gallery, New York which was on view from March 25 - April 30, 2011. Butler writes: "... in the best of them, evocative color, easy brushwork and diminutive size remind me of Albert York's enigmatic landscape paintings combined with Bill Jensen's paintings from the eighties."
Brent Hallard talks with painter José Heerkens. Heerkens discusses the impulses behind his grid-based work including being inspired by landscape - both the Netherlands and the Australian outback "... the structured and the wild. Both are important for me. In my work I need to deal with the tension of extremes, challenging me to find
John Morris blogs about the exhibition A Painter's Legacy: The Students of Samuel Rosenberg. The press release states: "A Painter’s Legacy is an expansive exhibit comprised of the rich and diverse work of individual artists taught and influenced by Samuel Rosenberg. A professor at Carnegie Mellon University (formerly Carnegie Institute of Technology) for 40 years
Altoon Sultan blogs about Elizabeth Murray's paintings from the mid to late 1970's, works which document Murray's path from "minimalism" to her signature style. Sultan writes that "Murray takes forms that seem so straightforwardly geometric and infuses them with stories and off beat humor." Elizabeth Murray: Painting in the '70s is on view at Pace
Chris Ashley writes about Paul Pagk's drawings and their relationship to his paintings. Ashley writes: "Each work’s image... a combination of field, diagram, and gesture, is a definite structural place ... both intimate and monolithic... intentionally ambiguous and open for the purpose of varied personal and public experience." Paul Pagk: Drawings from the Series: The
Kevin Kinsella reviews Malevich and the American Legacy on view at Gagosian Gallery through April 30, 2011. Kinsella begins by recounting an intellectual and physical brawl between Malevich and Tatlin at the opening reception for The Last Futurist Painting Exhibition in 1915. However, he concludes that in the current exhibition that the visual revolution of
Robert Ayers interviews painter James Siena about his work on the occasion of his current exhibition on view at Pace Gallery through April 20, 2011. Ayers asks Siena about his process, color, drawing and his new figurative work. Of the figurative work Siena says: "I just had an impulse at one point to draw a
Hearne Pardee reviews two recently published books: Philip Guston: Collected Writings, Lectures, and Conversations edited by Clark Coolidge and Telling Stories: Philip Guston's Later Works by David Kaufmann. Pardee writes: "Together, Kaufmann and Coolidge offer a framework that helps us understand [Guston's return to figuration], Kaufmann by placing it in its cultural context and Coolidge
Vincent Romaniello features a work by painter Ralph Coburn. Coburn's work was the subject of a recent exhibition Ralph Coburn - France, Works on Paper 1949–1956 at David Hall Fine Art in Wellesley, Massachusetts. A contemporary of painter Ellsworth Kelly, Coburn accompanied Kelly to France during the early 1950's. This peroid was formative for both
Painter Altoon Sultan blogs her thoughts a wide range of portraits seen on her recent trip to the Metropolitan Museum of Art, beginning with Fayum funerary portraits and ending with Degas' Portrait of the Artist Tissot. Musing on "Netherlandish" portrait painters she writes: "[they] have magic in their art. How they are able to paint
Steven Maine reviews the exhibition The Working Title on view at the Bronx River Art Center through April 29, 2011. The Working Title presents the work of 32 artists. "A lively exhibition," Maine writes, on that questions "the high seriousness with which abstract painters of fifty years ago... Rather than advancing an argument regarding the
Interview with painter Lucy Mink. Mink discusses her studio practice - "For years I experimented with everything from wax, rubber, latex, cloth, and way too much galkyd. In 2009 I stopped using additional materials with my paint" - and is wonderfully candid about how her painting is integrated in her life - "My studio is