Laurence Noga reviews the recent exhibition Dominic Beattie: Studio at Fold Gallery. Noga writes: "Prolific and compelling, Beattie’s approach in sourcing easily-available materials pays dividends in these geometric dissolutions. The anti-digital aesthetic is combined with shimmering movement. The mechanics of the picture-making, and the way he manipulates the space, are reminiscent of the Cubists’ approach,
Anna McNay reviews Lowry by the Sea at Jerwood Gallery, Hastings, on view through November 1, 2015. McNay writes: "Mention LS Lowry (1887-1976) and most people will picture grim, industrial cityscapes from Britain’s north-west, with smoke-belching factories; men bent nearly double, hastening along crowded pavements; grey drizzle; and children playing in the street. But Lowry
Joanne Mattera blogs about two New York shows: Gabriel Evertz: The Gray Question at Minus Space (through Oct 31) and 1960s Hard Edge Painting: DC, LA, NY at D. Wigmore Fine Art (through Nov 6). About Evertz's paintings Mattera observes: "while the chromatic stripes are rigorously parallel, the grays are painted at an angle. That
Peter Malone reviews Sargent: Portraits of Artists and Friends at the Metropolitan Museum of Art, New York, on view through October 4, 2015. Malone writes that the show "is an opportunity to reassess the relationship between Sargent’s skill and his decision to retain a fidelity to nature that was in the last decades of the
Mario Naves reviews Paintings by George Stubbs from the Yale Center for British Art at the Metropolitan Museum of Art, New York, on view through November 8, 2015. Naves writes: "The most unified picture [in the exhibition] is Newmarket Heath, with a Rubbing Down House (ca. 1765), in which figures of any sort are absent.
Emily Spicer reviews Bridget Riley: Learning from Seurat at The Courtauld Gallery, London, on view through January 17, 2016. Spicer writes: "On leaving art school, Riley was at somewhat of a loss. She had had an academic training in drawing, but felt that she knew nothing about colour. Until, that is, she discovered Seurat, and
Lani Asher reviews Jay DeFeo: Alter Ego at Hosfelt Gallery, San Francisco, on view through October 10, 2015. Asher writes: "DeFeo’s metaphysical but concrete art functions in much the same way: the act of mirroring, or flipping images over and around, of changing black to white, of cutting through the surface of something, of changing
Altoon Sultan blogs about Anne Truitt in Japan at Matthew Marks Gallery, New York, on view through October 24, 2015. Sultan writes: "It is a great visual pleasure to see a show in which color is so saturated and rich that it transcends paint's mere physicality... In the first room of the gallery were five
A. Zlotowitz reviews Piet Mondrian: The Line at Martin Gropius Bau, Berlin, on view until December 6th, 2015. Zlotowitz writes that the show "[takes] the artist’s creative evolution and exposition as its starting point. Initially starting his career painting in the Impressionist style, this exhibition of Mondrian’s work dedicates itself to showcasing the artist’s career
Franklin Einspruch reviews Kyle Staver: Tall Tales at Steven Harvey Fine Art Projects, New York, on view through October 11, 2015. Einspruch writes: "Staver has long felt compelled to retell her family’s stories, iconically in their way, but not so much as to defeat all the specifics... In her more recent paintings, mythology supplies enough
Jennifer Samet interviews painter Lesley Vance. Vance comments: "I think of this plastic paint space almost like a Möbius strip. I like the idea that the forms in my paintings might unwind, but you can’t trace the steps back. I want it to be a singular boom. It is an object that exists, and you
Matthew Deleget interviews painter David Diao. A retrospective of Diao's work is on view at The Ullens Center for Contemporary Art, Beijing through November 15, 2015. Diao remarks: "The best thing about art-making is that you plan everything, but once the work is done, you're surprised by accidents that make it more interesting."
Raphael Rubinstein profiles artist Gwenn Thomas. Rubinstein writes: "It turns out that these paintings haven’t been 'painted' at all. Thomas’s process involved first making small collages from strips of paper, packing tape, cardboard, and corrugated plastic, which she then photographed with an 8-by-10-inch camera. The next step took place in a commercial photo studio with
Jillian Steinhauer previews Women of Abstract Expressionism which will be on view at the Denver Art Museum from June 12, 2016 – September 25, 2016, and talks to the exhibition’s organizer, Gwen Chanzit about the show. Chaznit comments: "Most [of the exhibited artists] were not fully acknowledged in their time. Though many showed in exhibitions
Zachary Keeting and Christopher Joy talk with artist Helen O'Leary at her exhibition Delicate Negotiations, on view at Lesley Heller Workspace, New York, through October 18, 2015. O'Leary remarks: "I have a full history of painters in my head that I'm thinking about... and it's my way of coming to that language through a very
Allie Biswas reviews Julie Sass: Be-Bop Your Visual Acts (Shared Space) at Third Space, Copenhagen, Denmark, on view through September 27, 2015. Biswas notes that "[Sass's] display consists of works on paper as well as paintings, of which the majority are diminutive (the size of a large notepad). The exceptions to this are a couple
Dylan Kerr interviews Katherine Bernhardt on the occasion of her exhibition Pablo and Efrain at Venus over Manhattan, on view through October 24, 2015. Bernhardt comments: "I’m thinking more about daily life, about products and things that we use. I’m thinking about stuff at the deli, things like that... They’re just good colors and shapes.
Mahjabeen Syed highlights a "one week only" exhibition of works on paper by Camille Pissarro at L’Alliance Française de Chicago, on view through September 24, 2015. Dana Gordon argued for the Pissarro's importance in his article Justice to Pissarro, published in 2013 on Painters' Table.
Larry Groff and Tina Engels interview painter Lani Irwin. Asked about her working method Irwin comments "There is no set method. Rarely do I make preliminary drawings, never do I plan out a painting in any formal way. I spend a lot of time staring at the blank canvas. In the end I must just
As part of the Brancaster Chronicles annual studio visit series, John Pollard, Alexandra Harley, David Lendrum, Helga Joergens-Lendrum, Robin Greenwood, Sarah Greenwood, Anthony Smart, Hilde Skilton, Mark Skilton, Noela James, John Bunker, Patrick Jones participate in a group studio visit with painter Anne Smart.