Katrina Blannin collects thoughts on color from a numner of artists including: Andrew Bick, Caterina Lewis, Clem Crosby, Dan Coombs, David Rhodes, Emma Biggs, Juan Bolivar, Karen David, Kate Terry, Kiera Bennett, Mali Morris, Selma Parlour, Simon Bill, Simon Callery, and Tom Benson. In her introduction, Blannin writes of her interest in Iona Singh's argument
Charles Kessler blogs about the exhibition Madame Cézanne at the Metropolitan Museum of Art, New York, on view through March 15, 2015. Kessler writes: "I don't think capturing [Madame Cézanne's] personality, or the personality of any other of his sitters for that matter, was Cézanne's concern, any more than capturing the personality of an apple
Sharon Butler blogs about Joan Waltemath: One does not negate the other at Hionas Gallery, New York, on view through March 14, 2015. Butler writes: "Centuries ago, artists were a bit like chemists, mixing secret recipes for binders and varnishes that least would affect the lightfast quality of their pigments and the surfaces of their
Altoon Sultan blogs about the exhibition Merlin James: Genre Paintings at Sikkema Jenkins & Co., New York, on view through March 7, 2015. Sultan writes that the show "was a wonderful surprise for me ... I hadn't seen his work before, and when I looked at the show online it seemed to me to be
Jennifer Samet interviews painter Gregory Botts. In her introduction Samet writes: "Botts has an exuberant but economic way with paint, marking the curve of a flower stem, the form of a mesa, and a cloud sitting in the sky with accuracy and poetic bravado. The landscapes are punctuated by geometric interruptions: squares of saturated color
Polly Shindler interviews painter Lauren Collings. Collings comments: "I like making choices and limiting. As much as you’d want to put in, eliminating 80% of that makes it much more interesting... In one of Philip Guston’s lectures at the Studio School he was saying that he would take a year or so off from painting
James Kalm visits the exhibition Fred Valentine Toward Grandfather Mountain at STUDIO 10, Bushwick, Brooklyn, on view through March 8, 2015. Kalm notes that Valentine's "show presents many small scaled paintings featuring the artist's heavily worked surfaces, and rich warn pallet. There's a sly, mischievous quality to the work due to the artist's knowingly tweaking
Jonathan Goodman reviews Lisa Bradley: The Fullness of Being at Hollis Taggart Galleries, New York, on view through February 28, 2015. Goodman writes that Bradley’s paintings "communicate feeling above all else. Often looking like cloudscapes, and usually occurring in a dark, midnight blue, Bradley’s pictures summon visions of endlessness on a cosmic spiritual level. Her
Linda Francis interviews Thomas Micchelli about the work in his show Bacchantes and Bivalves at John Davis Gallery, Hudson, New York, on view through March 1, 2015. Asked to describe his working process, Micchelli comments that it is: "Rather chaotic, less so in the drawings than in the paintings, which are often free-for-alls in terms
Joanne Mattera blogs about the exhibition Territory of Abstraction at Pentimenti Gallery, Philadelphia, on view through April 4, 2015. The show features works by Steven Baris, Rob de Oude, Edgar Diehl, Gabriele Evertz, Kevin Finklea, Enrico Gomez, Brent Hallard, Gilbert Hsiao, Gracia Khouw, Joanne Mattera, Mel Prest, and Debra Ramsay. The post includes a Q&A
Eric Holzman remembers painter Jake Berthot (1939-2014). Holzman writes: "Since Jake came to landscape painting from a different angle than everyone else, that is abstract painting, I imagine the grids provided a scaffold upon which he could build and construct his compositions. They must have made the space between things seem palpable and real, measurable
Dan Piepenbring blogs about Alice Neel's illustrations for Fyodor Dostoevsky's Brothers Karamazov, on view in Alice Neel: Drawings and Watercolors 1927-1978 at David Zwirner Gallery, New York through April 18, 2015. Piepenbring writes: "In the thirties, Neel made a series of illustrations for an edition of The Brothers Karamazov that apparently never came to fruition.
Sharon Butler reviews my current show of recent paintings at Elizabeth Harris Gallery, New York, on view through March 28, 2015. Butler writes: "Brett Baker's new small-scale paintings at Elizabeth Harris are a little bigger than the ones in his last show, and they continue his exploration of line, thickly layered paint, and color. Several
Altoon Sultan blogs about John Zurier: West of the Future at Peter Blum Gallery, New York, on view through April 4 2015. Sultan writes: "This has rarely happened to me, but when I saw John Zurier's show 'West of the Future', currently at Peter Blum Gallery, my awed reaction wasn't just 'I love these paintings',
Elizabeth Glaessner writes about her experience of paintings by Karin Mamma Andersson, first in reproduction, and then in person at the recent exhibition Mamma Andersson: Behind the Curtain at David Zwirner Gallery, New York. Glaessner writes " ...standing in front of the paint was a transportive experience and as I imagined her process, the stories
David Salle reviews The Forever Now: Contemporary Painting in an Atemporal World at the Museum of Modern Art (MoMA), New York, on view through April 5, 2015. The show features works by works by Richard Aldrich, Joe Bradley, Kerstin Brätsch, Matt Connors, Michaela Eichwald, Nicole Eisenman, Mark Grotjahn, Charline von Heyl, Rashid Johnson, Julie Mehretu,
Christopher Masters pens an obituary for painter Sheila Girling (1924 - 2015). Masters writes that Girling's "final decades were a period in which [she] produced works of an impressive emotional range within a clearly defined, highly abstracted style. Her use of acrylic was combined with a penchant for collage, the technique through which, according to
John Yau reviews Merlin James: Genre Paintings at Sikkema Jenkins & Co., New York, on view through March 7, 2015. Yau notes: "James seems to believe that painting is not about categorizing and possessing but about seeing and experiencing the inchoate, often disturbing feelings we face in the most ordinary of situations. He can reinvigorate
As the first post in Noah Dillon's new "Tell Me" series, where artists discuss single work of art in person, Eric Sutphin considers Manet's Boating (1874) (and Bouguereau) at the Met. Sutphin comments: "This painting feels rather stripped in a way, and I think our identification with some kind of subject, a human subject, is
Mark Stone recaps an ongoing debate on his blog about developing space in 21st century abstract painting and sculpture. Stone concludes: "... what is space at this stage of abstraction’s development? Is it possible for painting to move ahead (or backward) to a different kind of space and would that include abstraction? Can painting rework