Natasha Kurchanova reviews Jackson Pollock: A Collection Survey, 1934-1954 at Museum of Modern Art, New York, on view through March 13, 2016. Kurchanova writes: "Apart from large canvases covered by Pollock’s signature all-over web of patterned, dripped or sculpted paint, a range of his smaller abstract paintings adds complexity to our understanding of his work
Brian Dupont reviews Brice Marden: New Paintings and Drawings at Matthew Marks Gallery, New York, on view through December 24, 2015. Dupont writes: "Walking into the central space at 522 22nd Street the viewer is confronted by ‘Summer Square’, a large brown monochrome that stands as a seemingly stark refutation of his paintings of the
Alexi Worth interviews painter Frank Owen on the occasion of Owen's show Next at Nancy Hoffman Gallery, New York, on view through December 12, 2015. Asked about beginning his pouring paintings and the influence of Pollock, Owen comments: "I was thinking a lot about Echo: Number 25, 1951; that painting was talismanic for me. In
Melissa Stern reviews Francis Bacon: Late Paintings at Gagosian Gallery, New York, on view through December 12, 2015. Stern writes: "Having not really focused on Bacon’s work in quite a while I was blown away by how fresh, shocking, and incredibly beautiful the paintings are... The paintings in the exhibit reflect a change of mood
Miguel de Baca remembers painter Paul Reed (1919–2015). De Baca writes:"Reed’s work is celebrated for eliciting a sense of vibrancy from complex color combinations even when areas of thinned pigment overlap, demonstrating his mastery over the unpredictable acrylic medium... Reed’s early work ... sustained the interplay between graphic elements and painterly ones and an innovative
Larry Groff interviews painter Caren Canier. Canier comments: "I have always gone back and forth between painting from life and painting from my imagination. I’ve made figure compositions that were very ambitious and difficult, trying to invent everything from scratch and then I have also always made these little collages. All of these different ways
Jennifer Samet interviews painter Angela Dufresne. Dufresne remarks: "I am trying to use some of those strategies that I find in video and music. How can I make painting that is not just navel-gazing, all about paint? I would not stay interested if I didn’t have other things going through my head. Sustained engagement in
Carl Belz essay on artist John Goodyear, republished on the occasion of the exhibition John Goodyear, Perspectives/Six Decades, at Berry Campbell Gallery, New York, on view through January 2, 2015. Belz writes: "John Goodyear’s way not so much makes art as allows art to happen, as if art were somehow there all along, as if
Sharon Louden photoblogs a selection of paintings from the 2015 Pulse and Art Basel Miami art fairs including works by: Ronnie Hughes, Eric Butcher, Helen O'Leary, Don Voisine, Heidi Spector, Imi Knoebel, Sadie Benning, Robert Motherwell, Josef Albers, and Barbara Rossi.
Piri Halasz reviews the recent show William Perehudoff: A Retrospective at Berry Campbell Gallery, New York. Halasz writes: "In the 1980s, Jules Olitski & Larry Poons were dominating the discussion within color field circles by making somber, 'close-value' paintings, heavily laden with gel. Perehudoff wasn’t. Instead, he was creating bright, always radiant and sometimes positively
Barry Schwabsky reviews a recent exhibition of paintings by Maureen Gallace at 303 Gallery, New York. Schwabsky observes that "these paintings are, in the end, indifferent to the nostalgia that might color them. They don’t insist on a mood. It would be easy to see them as naive, and easier still as faux-naive, but it’s
Altoon Sultan blogs about Joaquin Torres-Garcia: The Arcadian Modern at the Museum of Modern Art (MoMA), New York, on view thorugh February 15, 2016. Sultan writes: "What I'd known of Torres-Garcia's work were paintings such as the one above, which are like complex hieroglyphics, hidden stories of life." She adds, however, that "[the] work by
Geoff Hands reviews the recent show Merge Visible: New Digital Paintings by Dennis Loesch at PM/AM Gallery, London. Hands writes: "It’s worth saying that I was drawn to visit this show, via receiving the press release and seeing his work on-line (how else?), because the apparently abstract imagery is derived, to some significant degree, from
Joanne Mattera blogs about works by Giorgio Morandi at The Center for Italian Modern Art (CIMA), New York, through June 25, 2016. Mattera provides a photo tour of the show and makes note of revelatory details provided by the accompanying photography of Morandi's objects by Joel Meyerowitz including that "... Morandi set up his still
Viktor Witkowski reviews Austin Lee: Nothing Personal at Postmasters Gallery, New York, on view through December 5, 2015. Witkowski writes: "Even though many reviews have focused on Lee’s translation of the digital (tablet) into the analog (acrylic on canvas), Nothing Personal is also a study of portraiture and its role within contemporary painting." He concludes
Chris Lowrance interviews painter Eric Sall on the occasion of Sall's exhibition Full Phase at Haw Contemporary, Kansas City, on view through December 31, 2015. Sall comments that "there are times where I feel like things need to be agitated in a way…that could mean doing something like dragging thick paint over the top of
Stan Mir reviews Jan Baltzell: New Work at the Schmidt Dean Gallery, Philadelphia. Mir writes: "Baltzell started her career as a still life painter and teaches courses in it at the Pennsylvania Academy of Fine Arts, but she says she no longer paints directly from objects. She relies on her memory instead and her understanding
Sharon Butler photoblogs a visit to the studio of painter Hermine Ford. Butler writes: "Innovative and expansive on multiple levels – line, color, shape, surface – her own work is uniquely prepossessing and only rewards further contemplation. Building irregularly shaped, sometimes even jagged, oil paintings from exquisite smaller watercolor studies (one is pictured above), Ford
John Seed talks to Michael Klein, curator of Grace Hartigan: Works From 1960-65, on view at the X Contemporary Art Fair, Miami from December 1-6, 2015. Klein comments: "... some of Hartigan's paintings of this period are pure abstractions such as Saint Valentine or Pomegranate; others like Grey Eyed Athena have a figurative element to
Christopher Howard reports on a recent artist talk given by painter Clarity Haynes at Trestle Gallery, Brooklyn, New York. Howard writes: "Because she works from life, [Haynes] gets to know not only the bodies she depicts but also the person inside them, like the trans bodybuilder Roxanne, whom she finished painting in 2012. 'I really