Link posts — Page 7

Jason Rosenfeld interviews painter Cecily Brown on the occasion of her recent exhibition A Day! Help! Help! Another Day! at Paula Cooper Gallery, New York. Brown observes: "It would be ironic if this horrible period in our history was producing really good art, for a change. I’m uncomfortable talking about something too specific to my

Jason Stopa writes about "Laura Owens, Keltie Ferris, Rachel Rossin, and Trudy Benson — artists who have explored multi-media paintings that rival sculpture." "These works," Stopa argues, "feel constructed as opposed to made, and engage with several forms of tactility, illusion, and physical depth. In a time in which younger artists continue to churn out

Lidija Haas interviews artist R.H. Quaytman whose exhibition An Evening, Chapter 32 is on view at the Secession, Vienna through January 21, 2018. Haas writes: "[Quaytman] has never once considered abandoning painting, ‘because I think it’s really the best problem in art. The plane, the picture, is the best, deepest problem.’ Photographs on the other

Antrese Wood talks to painter Allison Gildersleeve. Gildersleeve talks about getting the process of painting to match the meaning: "I try to make the way I'm making my paintings be an important part of what you take away from them." She also discusses the function of time in her paintings: "My paintings are a lot

Larry Groff interviews painter Susannah Phillips. Phillips comments: "The important thing for me, whatever the source of the colour, be it observed or invented, it should work in the painting as a whole. I might drop the real colour of the object in favour of something I want instead; so, for example, a cloth that

Peter Malone reviews Romare Bearden: Abstraction recently on view at the Neuberger Museum of Art, SUNY Purchase. Malone writes: "Because Bearden’s career appears, even in the limited scope of this exhibition, a steady and consistent affair that holds to narrative and figurative concerns over many decades, it follows that any formal innovation he experimented with

David Brody reviews Frances Barth: New Paintings, 2011-2017 at Silas Van Morisse Gallery, Bushwick, Brooklyn, on view through December 17, 2017. Brody begins: "Frances Barth’s new paintings combine calm planes of beautiful color with graphic details that suggest landscape, while also subverting easy spatial readings. As with Thomas Nozkowski’s cryptic modes of abstraction, Barth’s uncertain

Jan Verwoert remembers painter and writer Robert Linsley. Verwoert writes that Linsley "was a brilliant thinker, passionate painter, generous person ... a one-man lesson in understanding why art matters and how the meditation on artistic form can become an existential concern, as you deepen your experience of what shapes, colours, paints and textures can be

Brian Alfred talks to painter Cary Smith at Smith's recent exhibition New Paintings and Drawings at Fredricks & Freiser, New York.

Richard Ward reviews Matisse-Bonnard: Long Live Painting at the Staedal Museum Frankfurt, on view through January 14, 2018. Ward notes that the "difference of approach [of the two artists] is visible throughout the exhibition and manifests itself in various ways: Matisse's primary creation is pictorial space. Even a simple, almost sketch-like painting, such as the

Eileen Jeng Lynch reviews the recent exhibition Lauren Luloff: The Evergreens at Ceysson & Bénétière, New York. Lynch writes: "The title of the show, The Evergreens, derives its name from the eponymous nineteenth-century cemetery in the artist’s Brooklyn neighborhood. Luloff used bleach to paint flora – including sunflowers, hollyhocks, hydrangeas, and blue spruces – in

Karen S. Chambers reviews Vermeer and the Masters of Genre Painting: Inspiration and Rivalry at the National Gallery of Art, Washington D.C., on view through Jan. 21, 2018. Chambers writes: "The National Gallery of Art ... has assembled what may be the definitive exhibition of 17th-century Dutch high-life genre painting, which focuses on the daily

Karen Wilkin reviews Graham Nickson: Light and Geometry at Betty Cuningham Gallery, New York, on view through December 22, 2018. Wilkin writes: "The canvases and watercolors [Nickson] has produced over the years — of flamboyant sunrises and feverish sunsets — address themes that most committed modernists would either scorn or find too frightening to tackle.

Francesca Wade reviews Impressionists in London at Tate Britain, on view through May 7, 2018. Wade writes: "In 1904, 37 of [Claude Monet's] pictures – splendidly evocative hazes of red and blue – were shown in Paris in an exhibition called Views of the Thames. Eight of these works form the centrepiece of this Tate

Sharon Butler reviews Tom McGlynn: Station / Decal / Survey at Rick Wester Fine Arts, New York, on view through December 23, 2017. Butler writes: "The shapes [in McGlynn's paintings] aren’t symbolic, and they don’t conjure a discrete narrative about internal relationships. But they do provide some evidence of this artist’s specific intention and process.

Barry Schwabsky reviews an exhibition of works by Dana Schutz at the Institute of Contemporary Art, Boston, and subsequently reflects on Schutz's controversial painting of Emmett Till shown in the recent Whitney Biennial. Schwabsky observes: "It’s in the gap between what can be imagined and what can be represented that art’s capacity for surprise is

Louise Nicholson reviews Murillo: The Self-Portraits at the Frick Collection, New York, on view through February 4, 2018. Nicholson writes: "The Frick self-portrait ... dominates one room. Viewers must use their imaginations to enliven the now dismal background colour: Murillo’s intended airy blue sky is gone due to the degradation of the smalt pigment he

Lev Feigin reviews Ying Li: Sojourn at Gross McCleaf Gallery, Philadelphia, on view through November 25, 2017. Feigin writes that Li's paintings "evoke pictorial spaces: vistas on a Swiss lake; autumn mountains near Telluride, Colorado; docked boats on the Maine coast. But come closer and you enter the ridged, luminous labyrinths of her pigments projected

Jonathan Goodman reviews a recent exhibition of works by Syd Solomon at Berry Campbell, New York. Goodman writes that Solomon "opens up a genuine understanding of the abstract-expressionist movement—we see the art and not the painter overwhelming the art. The vertical work called Summer Spell (1985), with its skeins and wisps of color—white, yellow, blur,

Sally Grant reviews Wayne Thiebaud: Land Survey at Allan Stone Projects, New York, on view through December 23, 2017. Grant writes: "Thiebaud has frequently revisited certain motifs over the course of his long career and has mastered their painterly enticement. Whether the subject is a cake or a cloud, the artist’s consummate rendering seduces the