Link posts — Page 5

Wen Tao reviews two exhibitions of works by Cy Twombly: In Beauty It Is Finished: Drawings 1951-2008 (through April 25) and Coronation of Sesostris (through April 28). The former is on view at Gagosian, 980 Madison Avenue New York and the latter at Gagosian, 522 West 21st Street, New York. Tao writes: "Image and text

An engaging conversation between painters Larry Groff and Robert Birmelin. Asked about how he "[leads] the viewer’s eye through your paintings in unexpected ways" and evoking "visual surprise," Birmelin comments: "I’m interested in movement, in the transient moment of noticing. In the eye as it selectively focuses within a changing, often overloaded environment... I was

Laura Cumming reviews Surface Work, a comprehensive survey of abstract painting by female artists, at Victoria Miro Mayfair (through June 16) and Victoria Miro Wharf Road (through May 19), London. Cumming writes that the show "is nothing less than an anthology of abstract painting spanning an entire century, from early constructivism to post-digital sampling, in

Dan Nadel reviews Steve DiBenedetto: Toasted with Everything at Derek Eller Gallery, New York, on view through April 22, 2018. Nadel notes that DiBenedetto's paintings "are first and foremost creations of the physical act of brush and scraper on canvas—where once DiBenedetto layered his paintings with allusions to psychedelic phenomena, science fiction films and literature,

Robert C. Morgan writes about Ted Stamm's Wooster paintings, recently on view at Lisson Gallery, New York. Morgan writes: "The Woosters employ an unusual rectangular theme that extends into a triangular hinge on the left side. These works were both drawn in graphite and painted in black and white (and, later in silver). At the

Zachary Keeting and Christopher Joy visit the studio of painter Gaby Collins-Fernandez. "For me the idea of having competing realms of visuality is really interesting. So, what is the spatial expectation of a painting? What is the spatial expectation of something which reads as something that lives in digital space? ... What is the expectation

Joe Fyfe observes connections between the work of Robert Bechtle and Eugene Delacroix. Bechtle's work is on view at Gladstone 64, New York through April 21, 2018. Fyfe writes: "Both Delacroix and Bechtle are representing an ethos, that is, something that an era believes, but not something that is necessarily true. In both cases, this

Maggie Gray reviews Peter Lanyon: Cornwall Inside Out recently on view at Hazlitt Holland-Hibbert, London. Gray writes: "Over the course of his career Lanyon devised a unique approach to painting that relied on his total immersion within the landscape. He would walk, drive, climb, cycle, swim and eventually glide across and over Cornwall; he learnt

Altoon Sultan reflects on Piero di Cosimo's A Satyr Mourning over a Nymph (c. 1495), seen on a recent trip to the National Gallery, London. Sultan writes: "There I was, standing in front of this beautiful, tender, poignant painting, unable to stop weeping. It may be that my feelings were very close to the surface

Emily Spicer reviews Murillo: The Self-Portraits at the National Gallery, London, on view through May 21, 2018. Spicer begins: "At least 20 years passed between the Spanish artists Bartolomé Esteban Murillo (1617-82) painting his first self-portrait and his second and, on the surface, they look strikingly similar. The artist is wearing black, has framed his

Thomas Micchelli reviews Radiant Energy at the Visual Arts Center of New Jersey, on view through May 13, 2018. Micchelli begins: "Radiant Energy is both the title and the most succinct descriptor of the exhibition bringing together, for the first time, the paintings of Gabriele Evertz, Robert Swain, and Sanford Wurmfeld, key members of the

James Kalm visits Paris/New York/Nexus at Steven Harvey Fine Art Projects, New York, on view through April 15, 2018. The show features works by Balthus, Leland Bell, Anne Harvey, Jean Helion, Louisa Matthiasdottir, Bob Thompson, and Robert De Niro Sr. Kalm notes: "This presentation focuses on a select group of figurative artists who formed connections

Sharon Butler reviews Jennifer Coates,: Correspondences at Freight + Volume, New York, on view through April 15, 2018. Butler writes: "At first glance, the paintings convey a sense of joy, in the same way that Paul Klee’s idiosyncratic visual language does. Yet in some, like Bull Spirit(2018) and Small Rabbit Spirit(2018), globs of slathered paint,

John Mitchell interviews painter Stephanie Pierce whose exhibition Signal is on view at Steven Harvey Fine Art Projects, New York through March 4, 2018. Pierce comments: "My work is made by observing things in my immediate surroundings over long periods of time. After the surface is ready, I start looking everywhere for a way in,

John Yau reviews Trevor Winkfield: Saints, Dancers and Acrobats at Tibor de Nagy Gallery, New York, on view through March 25, 2018. Yau writes: "Modest in scale, rigorous in execution, mysterious and aloof in outcome, Winkfield’s invented forms tell us that all is not lost, that capitalism does not yet own our imagination — that

J. Hoberman reviews Josef Albers in Mexico at the Guggenheim Museum, New York, on view through March 28, 2018. Hoberman writes that the exhibition "makes Albers’s appreciation [of Mexico] evident, juxtaposing his studies, typically drawn on graph paper, with both his finished artwork (mostly paintings, one lithograph) and his fastidious arrangements of tiny on-site photographs.

Brian Alfred interviews painter Michael Stamm whose exhibition Mediation Inc. was recently on view at DC Moore Gallery, New York. Stamm remarks: "I feel very melancholic for the past and for things that I have lost, and for feelings that used to have ... shape and that are gone. Painting for me is like trying

Heather Morgan interviews painter John Mitchell. An exhibition of Mitchell's paintings will open September 7, 2018 at Planthouse Gallery, New York. Mitchell comments: "My paintings are not photographic and they’re not perfect representations of the way something looks in real life. They rely on the organic process of seeing and my ability to make a

James Kalm visits the exhibition Catherine Murphy: Recent Work at Peter Freeman Gallery, New York, on view through February 24, 2018. Kalm notes that "Catherine Murphy is probably one of the top and most conceptually challenging realists on the scene today. This show presents a wonderful selection of paintings and drawings that elicit a viewer’s

Liza Bingham reviews Joanne Greenbaum: Things We Said Today at The School of the Museum of Fine Arts at Tufts, on view through April 7, 2018. Bingham writes: "The abstract paintings in the Anderson Auditorium, all untitled, are ultimately nothing if not self-portraits, of a kind. They reveal Greenbaum’s compulsive drawing practice, writ large on