Stephen J. Goldberg interviews painter Ed Moses on the occasion of two exhibitions: Ed Moses: Drawings from the 1960s and 70s at LACMA (through August 2) and Ed Moses: Now and Then at William Turner Gallery, Santa Monica (through August 15). Moses comments: "I got interested in the grid from the crisscross action in certain
Anna McNay reviews Jackson Pollock: Blind Spots at Tate Liverpool, on view through October 18, 2015. McNay writes: "it might be suggested that his lack of direct contact with the canvas meant there was no intermediary between it and the content of his mind – his canvas could be said to be at one with
Charley Peters reviews the Agnes Martin retrospective at Tate Modern, on view through October 11, 2015. Peters notes that "Despite any of the vulnerability implied by the narratives surrounding her paintings, [the exhibition] is a vast, comprehensive survey of [Martin's] robust and relentless vision, best viewed by spending time with her paintings and not by
Blog post revisiting John Ashberry's 1965 review of Joan Mitchell's paintings at Stable Gallery republished on the occasion of the exhibition Joan Mitchell: Retrospective, Her Life and Paintings at Kunsthaus Bregenz, on view through October 25, 2015. Ashberry observes: "The relation of [Mitchell's] painting and that of other Abstract-Expressionists to nature has never really been
Simon Carr reviews Elmer Bischoff: Figurative Paintings continues at George Adams Gallery, New York, on view through August 30, 2015. Carr writes: "Bischoff, like Park and Diebenkorn, made artworks about daily life in Northern California. Using strong colors and assertive marks, he made dynamic street scenes and interiors portraying figures interacting... In 'Figure with White
Altoon Sultan considers American landscape paintings in the collection of the Hood Museum of Art. Sultan begins noting that many of the painters "depicted the local New Hampshire landscape, or that of New England. America––that vast 'virgin' land, unpeopled in the eyes of the European settlers, close to God in its awe inspiring grandeur––was a
Phyllis Tuchman reviews Brand-New and Terrific: Alex Katz in the 1950s at the Colby College Museum of Art, on view through October 18, 2015. Tuchman observes: "Sixty-some years later, all the work still looks brand-new and terrific. As it was, these singular portraits, Maine landscapes, and uncluttered interiors never got their day in court. Katz,
David Pagel reviews Jennifer Wynne Reeves: A Bolt of Soul: Grooved Foreheads and Dog Teeth at CB1 Gallery, Los Angeles, on view through July 18, 2015. Pagel writes that Reeves' works "are suffused with more sadness than most would want to experience in a lifetime, much less an afternoon. But delight also enlivens Reeves’ juicy
Tim Marlow interviews painter Frank Auerbach, whose work will be on view at Tate Britain from October 9 – March 13, 2016. Frank Auerbach: Speaking and Painting by Catherine Lampert was recently published by Thames & Hudson. From the poscast post intrduction: "In his own words, Auerbach is suspicious of too much thinking: 'thinking about
Kate Connolly profiles painter Imi Knoebel, whose work is on view at White Cube Bermondsey, London through September 13, 2015. Connolly writes: "Knoebel’s Drachen Serie (kite series) is arguably the highlight of the White Cube show in London. Seven kites – light, bright aluminium shapes that hover high up on the eight-metre wall – take
Painter Stanley Whitney comments on color in his paintings which are on view at Karma Gallery, New York, through July 26. Stanley Whitney: Dance the Orange will be on view at The Studio Museum Harlem from July 16 - Oct 25, 2015. Whitney notes: "The way the 4 x 4 grid came about in my
Nicole Eisenman and David Humphrey discuss their approaches to narrative and figurative painting. Eisenman: "My thing is that I’m really into narrative. It’s not about the figure—it’s the storytelling that I’m stuck on. The meat and bones in my practice is somewhere between texture and storytelling." Humphrey: "Something comes alive right when you’re trying to
John Yau reviews Elmer Bischoff: Figurative Paintings continues at the George Adams Gallery, New York, on view through August 30, 2015. Yau writes: "What I find interesting is that Bischoff, by drawing inspiration from late 19th century symbolism and Postimpressionism, seems to be going backward, instead of forward. The largest figure in “Playground” is in
Alex Bacon interviews painters Mary Heilmann and David Reed whose exhibition Two By Two is on view at Hamburger Bahnhof - Museum für Gegenwart, Berlin, through October 11, 2015. Reed: "Painting is really good at absorbing the world around it. This used to be thought of as a weakness and people thought that painting had
Jennifer Samet interviews painter Lecia Dole-Recio. Speaking about her process, Dole-Recio comments: "I start off with remnants. The remnants are organized according to material and scale and shape. There is vellum, cardboard, and paper cut from other pieces. I have boxes of triangles; I have boxes of stencils of the triangles – so there are
Celeste Moure blogs about the exhibition Guy Yanai: Ancienne Rive at Ameringer McEnery Yohe, New York, on view through August 14, 2015. Moure writes: "Yanai’s pieces look pixelated, in keeping with the digital age in which they were created — and the artist doesn’t shy away from mentioning computers, Photoshop and Instagram in conversation —
Addison Parks writes about Porfirio DiDonna: Paintings from the 1970s at Elizabeth Harris Gallery, New York, on view through July 31, 2015. Parks writes: "According to John Baker, DiDonna's worthy biographer, this man was a religious artist. Indeed, Baker has staked his career on this uncomfortable propostion. That in the age of man's great intellectual
Janet Tyson reviews Manierre Dawson: Engineering Abstraction at the Muskegon Museum of Art, on view through August 9, 2015. Tyson writes: "although not a household name, [Dawson] increasingly recognized as the first American artist to work in a completely abstract mode. What’s especially significant about him, though, is that he made his breakthrough to non-objective
Judith Linhares writes about Marsden Hartley's painting Madawaska—Acadian Light-Heavy (1940). Linhares observes: "The almond shaped eyes are outlined with light. This is a handsome face but the body is what Hartley wants me to focus on. His body in relationship to the frame of the painting leaves spaces that are small in relation to the
Arthur Whitman reviews Handmade: The Art of Susan Roth at the Everson Museum of Art, Syracuse, on view through August 30, 2015. Whitman writes: "Roth’s paintings are beautifully exuberant, filled with color and movement and a sense of space that pulls you in with force... Mindful of tradition, she is also an innovator. Her work