Abstract Painting — Page 13

David Carrier reviews Carmen Herrera: Lines of Sight at the Whitney Museum of American Art, on view through January 2, 2017. Carrier concludes: "... because this relatively small exhibition, which certainly doesn’t present her entire career, or even, so I imagine, identify her starting point, offers such a limited selection of her art, it’s impossible

John Goodrich reviews Gregory Amenoff: New Paintings at Alexandre Gallery, New York, on view through October 29, 2016. Goodrich writes: "While the natural landscape, exotic and enveloping, underpins all of Amenoff’s scenes, they depart from boiler-plate realism by several routes. A number of especially romantic paintings are notable for their brushy, atmospheric depths; they depict

Zachary Keeting and Christopher Joy interview artist Jane Fine. Fine remarks: "You don't have to spend the same amount of time on every part of the painting... you can have a very large area [of the painting] that takes you two seconds and a small little thing that you spend eighteen hours on."

Paddy Johnson reviews Julie Mehretu: Hoodnyx, Voodoo and Stelae at Marian Goodman Gallery, New York, on view through October 29, 2016. Johnson writes: "Without the titles, there’s no way to identify the grim events that inspire [Mehretu's] work. The paintings add little to a path of abstract artist well trodden by now. With them, the

Julia Greenstreet writes about the Joan Mitchell's print collaborations with Kenneth Tyler. Greenstreet writes: "Although Mitchell was a painter above all else (oil on canvas was her preferred medium), she was also an accomplished printmaker and produced a significant graphic oeuvre of prints and artist books... Tyler was struck by Mitchell’s ‘mastery of colour unparalleled

Chris Miller reviews paintings by Zak Prekop at Shane Campbell Gallery, Chicago, on view through October 22, 2016. Miller writes: "Some works seem to be exploding; others collect the shrapnel that follows. A few feel quiet and mysterious, especially when patterns have been painted, or glued, on the reverse, so images emerge dimly from the

John Goodrich reviews a recent exhibition of works by Hearne Pardee at Bowery Gallery, New York. Goodrich writes: "When artists share their process, they usually call our attention to particularly evocative materials and techniques. Pardee, however, focuses on a different kind of process, one that’s arguably even more fundamental to visual experience: the challenges of

Xico Greenwald reviews Gregory Amenoff: New Paintings at Alexandre Gallery, New York, on view through October 29, 2016. Greenwald writes that Amenoff's "landscape-based abstractions teeming with organic shapes that suggest trees, caves, plant cells, soil, sky and water. But the forms here are not based on careful observation of the natural world. Rather, these are

Frank Bowling, Christopher Le Brun, Mali Morris, Vanessa Jackson, Fiona Rae and Sean Scully each share their thoughts on an Abstract Expressionist painter on the occasion of the exhibition Abstract Expressionism at the Royal Academy, London, on view through January 2, 2017.

Gwenaël Kerlidou reflects on the work of Frank Stella. Kerlidou writes: "Stella’s main argument boils down to this: How to make paintings that don’t lose the status of paintings by becoming objects — paintings that evacuate the subjectivity of both the painter and the viewer, and replace it with historical necessity? But, by rejecting expression,

Steven Alexander blogs about Ed Moses: Painting as Process at Albertz Benda, New York, on view through October 15, 2016. Alexander writes: "Central to Moses' work is the notion of constructing a painting through a process of interacting with materials, of setting a process in motion, and accepting the results... Bolstered by a large selection

Franklin Einspruch remembers painter Walter Darby Bannard (1934-2016). Einspruch writes: "[Bannard's] was a life full of brilliant friends, talented colleagues, and passionate relationships. Throughout it all and up to the end, he painted. When he was painting, canvases tacked to the floor, surrounded by jars of acrylics, and an arsenal of squeegees, brooms, and brushes

Piri Halasz reviews Richard Pousette-Dart: The Centennial at Pace Gallery, New York, on view through October 15, 2016. Halasz writes: "this show has a number of paintings that yank the artist out of his stately cubo-surrealist orbit of the 40s and situate him far more certainly in the tempestuous ensuing decade... they situate their creator

Sharon Butler posts excerpts from Alex Baker's catalogue essay for New Geometries at Fleischer/Ollman gallery in Philadelphia on view through November 12, 2016. The show features works by Martha Clippinger, Gianna Commito, Diena Georgetti, Jeffrey Gibson, Eamon Ore-Giron, and Clare Rojas. Butler notes that "Baker sums up the history of abstract painting and then suggests

Paul Corio reviews a selection of painting exhibitions in New York.

Faye Hirsch reviews the recent exhibition Rochelle Feinstein: I Made a Terrible Mistake at the Städtische Galerie im Lenbachhaus, Munich. The show will be on view at the Bronx Museum of the Arts from June 27 - September 22, 2018. Hirsch begins: "Rochelle Feinstein is tough on painting while remaining a true believer. Work by

Daniel Gerwin reviews Glenn Goldberg: Somewhere at Charlie James Gallery, Los Angeles, on view through October 15, 2016. Gerwin writes: "As I stood among his paintings, I became physically aware of a subtle conflict between sensual thrill and intellectual restraint... In 'Okay (Blue)' a rubber ducky shares the foreground with a highly stylized vertical stalk

John Bunker reviews Robert Motherwell: Abstract Expressionism at Bernard Jacobson Gallery, London, on view through November 26, 2016. Bunker writes: "Motherwell has a reputation for being the clever aesthete who was always too enamoured of the ‘Old World’ of Mediterranean sunshine, azure skies, Gauloises packets – and always with an eye for rare book wrappers

Jill Spalding reviews Ed Moses: Painting as Process at Albertz Benda, New York, on view through October 15, 2016. Spalding writes: "With a restless promise that won him a solo show in 1957 at the then nascent Ferus Gallery, [Moses] never ceased to experiment. He worked with latex, to great sales and acclaim, but reverted

Julian Kreimer reviews the recent exhibition Rubens Ghenov: Accoutrements in Marwa, an Interlude in Sliver at Morgan Lehman Gallery, New York. Kreimer writes: "Ghenov has absorbed the poet’s mantra that the fewer elements in a work, the more each of them matters... [his] ability to balance a powerful sense of nostalgia with an intensely slippery