Guy C. Corriero talks to painter John Zinsser about the exhibition Re-Irascibles: Theodoros Stamos and John Zinsser, an exhibition at Graham Gallery in New York, on view through April 17, 2015. For the show, Zinsser created new work in response to abstract expressionsit painter Theodoros Stamos. Commenting on the process Zinsser notes that half of
Altoon Sultan blogs about Robert Motherwell: Lyric Suite at the Metropolitan Museum of Art, New York, on view through July 26, 2015. Sultan writes: "There is so much life in these drawings; they don't stay still politely, but have a continuing pulsing energy. The drawings remind me of the looser forms of Asian calligraphy, which
Eric Sutphin interviews painter Ashley Garrett. Garrett comments: "I’m trying to include all of the possibilities of perception at once... There are all of these parallel ways of thinking and knowing, mistaking and perceiving. So how do you work from a place where you have a memory, but are in the process of forgetting it
John Seed interviews painter Nathan Lewis whose exhibition Light is the Lion is on view at Fernando Luis Alvarez Gallery, Stamford, Connecticut through April 18, 2015. Lewis comments: "I've always loved exploring abandoned spaces. 2011 is when I first decided to paint them. I've always been more of a figure painter and object (form) oriented.
James Kalm films a recent panel on contemporary painting hosted by Hunter College and the Brooklyn Rail. The panelists include: Phyllis Tuchman, Alex Bacon, Carrie Moyer, Greg Lindquist and Amei Wallach and are introduced by Phong Bui. The panelists discuss issues in contemporary painting raised by, and related to, the exhibition The Forever Now: Contemporary
William Eckhardt Kohler reviews Jack Davidson: love, mistake, promise, auto crack-up, color, petal at THEODORE: Art, Bushwick, Brooklyn, on view through April 12, 2015. Kohler writes: "The warmth in Davidson's paintings is both related to the strange and inventive forms and color ideas they contain and to subtle decisions such as repainting by hand edges
Ed Valentine writes about discovering the work of Ivan Albright at the Art Institute of Chicago. Valentine recalls: "I knew the story of St. Anthony of Egypt and had seen reproductions of versions by Grunewald, Bruegel, Bosch and a few others but this thing! Done in the mid, 1940s, it seemed to be smack out
Christopher Lowrance interviews painter Stephanie Pierce, whose show Radiant Welter will be on view at Alpha Gallery, Boston from April 4 - 29, 2015. Pierce comments: "I love getting to the point where the realization of the space has happened, and that I can then begin to let go of things, dissolve, shift, and then
Thomas Micchelli reviews Breaking Pattern at Minus Space, New York, on view through April 18, 2015. Micchelli writes: "Optical or perceptual painting, for all of its rigor and intellection, can be thought of as a vanguard in defense of 'aura,' a Romantic credo affirming the power of the art object. Optical painting may look anything
Mike Tooby writes about the life and career of the late painter Albert Irvin (1922 -2015). Although Irvin's career began in the 1950s, Tooby writes that Irvin's "work became prominent in the reinvigoration of British painting in the 1980s and 90s, and latterly became familiar through wide exhibition and reproduction. He made colour sweep and
Jan Dalley visits the studio of painter Gillian Ayres whose show New Paintings and Prints will be on view at Alan Cristea Gallery, London, from April 13 - May 30, 2015. In the interview Ayres comments: "To me painting is a visual thing. I find this terribly important... People like to understand and I wish
Tulsa Kinney visits the studio of painter James Hayward. Kinney writes: "I ask [Hayward] if painting is a physical thing for him—I have this vision of him in his studio vigorously slathering globs of thick crimson onto a canvas with a paintbrush in one hand and a bottle of wine in the other. In my
Robert C. Morgan reviews works by Kazuo Shiraga on view in two concurrent New York exhibitions: Kazuo Shiraga at Mnuchin Gallery (through April 11) and Body and Matter: The Art of Kazuo Shiraga and Satoru Hoshino at Dominique Lévy (through April 4). Morgan notes that "Japanese scholar Koichi Kawasaki ... argues that Shiraga was the
Sharon Butler blogs about On Kawara-Silence, curated by Jeffrey Weiss with Anne Wheeler, on view at the Guggenheim Museum, New York, through May 3, 2015. Butler writes: "Unlike artists today, Kawara eschewed the limelight, even skipping his own openings because attending them would interrupt what he envisioned as a lifelong performance – tracking a single
John Seed reviews Sandra Mendelsohn Rubin: A Common Thread at LA|Louver, on view through March 28, 2015. Seed notes: "Several of the exhibition's aerial views are very small: for example, Bridge Over the Navarro is just over seven inches across. As a result, I was drawn near as I inspected the painting, only to find
Emil Robinson reviews John Zurier: West of the Future at Peter Blum Gallery, New York, on view through April 4 2015. Robinson writes: "Many of the paintings in West of the Future are named after seasons or times of day. Zurier has a unique ability to be sensitive to his surroundings and the pace of
T.J. Clark considers the particular effect of Goya's drawings on view in the exhibition Goya: The Witches and Old Women Album at the Courtauld Gallery, London, on view through May 25, 2015. Clark notes: "Repetition and variation in [Goya's] drawings – each one intense and definitive, monotony coexisting with inventiveness – lead nowhere. That is
Howard Hurst reviews Joyce Pensato: Castaway at Petzel Gallery, New York, on view through March 28, 2015. Hurst writes: "The first thing one notices about the paintings on display is the immediacy with which they are painted. There is a dark, brooding feeling of aggression that pulls itself across the surfaces of the 9 large
James Kalm visits the exhibition Edith Schloss: Still Life, Myths and Mountains, A Retrospective, at Sundaram Tagore Gallery, New York, curated by Jason Andrew and organized in collaboration with Norte Maar, on view through March 28, 2015. The video walkthrough includes commentary by curator Jason Andrew. Kalm notes: "Beginning with her studies at the Art
Larry Groff interviews painter Christopher Chippendale. Chippendale comments extensively on observational painting and studying with painter George Nick: "Observational painting, I learned, was not a mimetic art form. We were not in the business of copying or duplicating what was before us, but of transposing it through paint, and through the forms we each adopted