Painter's Bread
Michael Rutherford interviews painter Farrell Brickhouse about his work and process. Brickhouse comments: "One question I ask when entering the studio is, 'what needs to be said, what can my art contain?' My studio time is not unique, it runs the whole gamut: from the workman-like strokes that one makes until something more significant can
Painters' Table readers are invited to an exhibition of my new paintings at the Elizabeth Harris Gallery, New York.
#FFFFFF Walls
Jonathan Chapline and Lorraine Nam visit the Chelsea studio of painter Mary Jones. Jones comments that in her paintings "there’s an implied figure and it's usually sort of a very ancient prehistoric Greek Cycladic reference. I wanted to reference something prehistoric and from the beginning of human history to sort of connect with that primal
Painter's Bread
Michael Rutherford interviews painter Jim Lee about his work and process. Lee comments: "For me, it’s just about working with my materials and trying to understand how to transition from one to the next, incorporating the physical vs. the visual. Whether its pieces of wood, a slice of linen, graphite marks, oil, latex paints, rubber,
An extended look into the artist’s studio, viewers see Ayres at work and hear her thoughts on painting.
Per Kirkeby speaks to exhibition co-curator Dorothy Kosinski about the necessity of time in the development of a painting.
Painter's Bread
Michael Rutherford talks to artist Maria Walker about her work. Rutherford writes: "Altered stretcher bars, torqued and triangulated planes, backs as fronts - the work of Maria Walker is a lesson in harmonizing tradition and experimentation... She has pushed her materials and flowed with them in order to elicit a distinctive sense of aesthetic truth.
As our ability to sense individual moments is being destroyed, George Hofmann paints what amounts to a collection of instants.
Painter's Bread
Michael Rutherford writes about a selection of painters whose instincts are leading them to make work beyond the limits of "the plane." Rutherford writes: "Professional skateboarders have a saying, 'skate how you feel, not how you should,' and the most experimental and engaging artists have always operated just like that - working how they feel,
Frederick Hammersley discusses his general thoughts on painting as well as the specifics and development of his practice
Painter's Bread
Michael Rutherford interviews painter Page Whitmore. Whitmore remarks: "I derive immense tactile pleasure from making and materiality. In alignment with some of the tensions in my work, achieving a high level of craft is important to me with the minimalist painting-esque objects, whereas some works I show are industrially manufactured; almost artless. My work has
Painter's Bread
Michael Rutherford interviews artist Clinton King about his work and making a shift from sculpture to painting. In the sculptures, King remarks, "I often worked with a material in a 'natural way' letting the object and material 'just be.' Working in this way I developed sensitivity and a lightness of touch. This later grew into
Over the course of a long career, Jones has developed a rich visual language and applied his rigorous, abstract process to a wide range of interests from Dogon carvings to political injustice.
In his Theory of Colors, Goethe observes that “the greatest brightness short of dazzling acts near the greatest darkness."
Per Kirkeby discuss his work while visiting his retrospective exhibition at BOZAR Brussels.
In David von Schlegell's final paintings, material is subjected to both a physical and philosophical alchemy that returns the sculptor to his romantic, painterly roots.
Painter's Bread
Michael Rutherford posts a video of painter Squeak Carnwath working in her studio and discussing the process of painting. Carnwath says: "I never know what I'm going to do... I like not knowing because then I'm going to find something out instead of it being a set product where it has an end goal. I
Conceptual restriction, in Siri Berg’s hands, adds up to exuberant expression and has a painterly feel.
Loosely brushed but clearly defined forms on off-white grounds that give the curious impression they are observations painted from life even though they are abstract expressionist works through and through.
Painter's Bread
Michael Rutherford interviews painter Osamu Kobayashi. Kobayashi notes that "Paint became my medium of choice for a couple of reasons... It never seemed 'dead' to me. I also liked paint's unpredictability. When approaching my work, I usually have an intention in mind, but often, what I have in mind is different than what actually happens