James Kalm visits Occo Socko!, the inaugural exhibition at Stout Projects, Bushwick, Brooklyn, on view through November 13, 2015. The show features works by Rebecca Murtaugh, Matthew Neil Gehring and Paul Behnke. The artists' works are tied together, as Kalm notes, by "individual approaches in their practices to using intense color."
Allie Biswas interviews painter Jordan Casteel on the occasion of the exhibition Brothers at Sargent's Daughters, New York, on view through November 15, 2015. Casteel comments: "The current show features groups of figures as opposed to a singular figure. Yes, this development is directly related to how one male feels in relation to the others
Jackie Saccoccio visits Graham Collins: Stadiums at The Journal Gallery, Brooklyn (on view through November 1) with Alex Greenberger. Greenberger reports: "Saccoccio pointed to Ridgeline (2015), for which Collins quartered a pool. In the process, he slashed the vinyl, and threw on Pollock-like spatters of mint-green and white paint. 'With a piece like this, I
Brian Schumacher and A’Dora Phillips remember painter Lennart Anderson (1928-2015). Anderson was the subject of their 2014 film Lennart Anderson: Seeing with Light. Schumacher and Phillips begin: "We are deeply saddened by the loss of Lennart Anderson, a perceptual painter, a painter of the figure, a painter of still life and of landscape in the
A. Zlotowitz reviews Katherine Bernhardt Pablo and Efrain at Venus Over Manhattan, on view through October 24, 2015. Zlotowitz writes: "Approaching each painting, there is a painterly hand similar to early impressionist explorations, but with Bernhardt’s familiar hodgepodge of content. Incorporating the birds, sharks, cigarettes and fruits she encountered in Puerto Rico, she brings the
Martin Oldham reviews Goya: The Portraits at the National Gallery London, on view through January 10, 2016. Oldham writes: "If there is a disruptive element here, it is Francisco de Goya y Lucientes himself. He may have been the servant of the Spanish elite, but his frank and often unflattering portraits betray a human vulnerability
Zachary Keeting and Christopher Joy visit the studio of painter Jason Duval. Duval remarks: "The things that are really important to me are materiality, the sense of an object and a picture that was made by a person in real time. And also that the finished painting, that the picture itself, is in a sense
David Rhodes reviews Bobbie Oliver: Paintings at Valentine Gallery, New York, on view through October 18, 2015. Rhodes writes: "Forever, for Hudson (#1) is a good place to begin contemplating Oliver’s work. It is characteristic of her oeuvre, technically and chromatically. Paint is applied, often wet into wet, and then manipulated using a variety of
William Fowler profiles painter Sam Gilliam. Fowler notes that in recent years Gilliam had been working in relative obscurity despite the fact that in the 60s and 70s he "was considered one of abstract art’s great innovators, one of the first painters to break the frame." Gilliam's work will be on view at David Kordansky's
Chris Lowrance interviews painter Tim Tozer on the occasion of the his exhibition The Visit on view at Groveland Gallery, Minneapolis, through October 17, 2015. Tozer comments: "I’m excited about making paintings that accept all the limitations of paint and surface, and simultaneously try to make this stuff transform into qualities that paintings can only
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John Goodrich blogs about viewing Jean-Baptiste-Siméon Chardin's Seville Orange, Silver Goblet, Apples, Pear and Two Bottles (1750) at the Metropolitan Museum of Art, New York. Goodrich writes that "the painting provides something of an existential experience. For more conventional artists, painting representationally means starting with a recognizable enough rendering and then adding the 'art': suggestive
Jeff Jahn reviews Seeing Nature at the Portland Art Museum (PAM), Oregon, on view though January 10, 2016. Jahn writes that the show, "drawn from Paul Allen's collection ... is a kind of survey of landscape paintings throughout history and as such maps the shifting expectations that viewers have for looking at what we consider
Tamar Zinn blogs about Helen O'Leary: Delicate Negotiations, on view at Lesley Heller Workspace, New York, through October 18, 2015. Zinn writes: "The work of Helen O'Leary embodies a multiplicity of meanings and does so with unassuming power. Combining both painting and sculpture, O'Leary's work evidences purposefulness as well as deep emotion, drawing on her
Jennifer Samet interviews painter Susan Jane Walp, whose work is on view at Tibor de Nagy Gallery, New York, through October 17, 2015. Walp comments: "You could say I am obsessed with measuring. Once the image is there, I want to get as close as possible to the feeling that I have about the motif.
Blog post revisiting Milton Gendel's 1954 article “Burri Makes a Picture,” republished on the occasion of the exhibition Alberto Burri: The Trauma of Painting at the Guggenheim Museum, New York, on view October 9, 2015 - January 6, 2016. Gendel observed: "Burri’s paintings are seen most clearly as manipulated objects while he is working on
In a new installment of the Brancaster Chronicles, Anthony Smart, Anne Smart, Robin Greenwood, Sarah Greenwood, John Bunker, Alexandra Harley, Patrick Jones, Helga Joergens-Lendrum, David Lendrum, Mark Skilton, Hilde Skilton, and Noela James discuss a group of recent works by painter John Pollard.
Andrew Russeth profiles painter Jacqueline Humphries whose work will be on view at the Contemporary Art Center of New Orleans from November 19, 2015 - February 28, 2016. Russeth writes: "Humphries’s work almost always feels like it could only be made right now, but her newest paintings are blanketed with especially contemporary signs: emoticons. (Another
John Seed interviews painter Alex Kanevsky on the occasion of his exhibition Unstable Equilibrium at Dolby Chadwick Gallery, San Francisco, on view through October 31, 2015. Kanevsky remarks: "At the moment I am interested in making paintings that are a form of unstable equilibrium. You come to see a painting. Everything appears stable and harmonious
Phong Bui interviews painter Alfred Leslie on the occasion of the exhibition Alfred Leslie: 10 Men at Janet Borden Gallery, New York, on view through November 25, 2015. Leslie comments: "I always felt people are open if you can catch them off guard. You can get them to see something that they may not have
John Goodrich reviews Susan Jane Walp: Paintings on Paper at Tibor de Nagy, New York, on view through October 17, 2015. Goodrich concludes that "the best paintings [in the exhibition] confirm what we may have already suspected of Walp’s work, which is that its power derives not from a strategy of centered, symmetric arrays but