Abstraction — Page 14

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

John Yau reviews Gary Petersen: Back There Behind the Sun at McKenzie Fine Art, New York, on view through October 16, 2016. Yau writes: "Gary Petersen’s skewed geometric paintings call forth analogies to music and architecture, a realm of vertical intervals and diagonal supports spliced into a precarious balance... His off-center, stacked shapes have a

Mary Jones interviews painter Sarah Walker on the occasion of Walker's show Space Machines at Pierogi, New York, on view through October 9, 2016. Walker comments: "I feel the title 'Space Machines' is relevant here, in that my work can generate a different sensibility of existing in space, an alternate form of cosmos. I feel

An essay by Franklin Einspruch about the paintings of Sue Post on the occasion of her exhibition Weed/Garden at The Painting Center, New York, on view through October 1, 2016. Einspruch writes: "Post began her graduate work on the landscape, finished a devout non-representational painter, and for five years worked within an abstract format consisting

John Seed interviews Eve Aschheim on the occasion of her exhibition Drawings and Photograms at Lori Bookstein Fine Art, New York, on view through October 15, 2016. Aschheim remarks: "[The photograms] began at the instigation of Emmet Gowin, a Princeton colleague, who thought we could shine light through my mylar drawings to make photograms. It

Larry Groff interviews painter Ying Li on the occasion of her exhibition Geographies at Haverford College, on view through October 7, 2016. Li comments: "I think these two are really one thing; they’re so tied together, looking out and then looking in on the canvas. I try to make that switch as short as possible

Allie Biswas interviews painter Sean Scully on the occasion of the exhibition Sean Scully: The Eighties at Mnuchin Gallery, New York, on view through October 22, 2016. Asked about the new direction of his work in the 80's Scully remarks: "I got impatient with the precious remoteness of high-end abstraction. I wanted to bring painting

Roberta Smith reviews No Limits: Zao Wou-Ki at Asia Society, New York, on view through January 8, 2017. Smith writes: "It is an intriguing, peripatetic, at times beautiful affair of 60 works from 1943 to 2003, with paintings on canvas and paper, watercolors and several kinds of prints. Yet Zao slips through your fingers, running

Carolina A. Miranda interviews John Elderfield, curator of Line into Color, Color into Line: Helen Frankenthaler, Paintings, 1962–1987 at Gagosian Gallery, Beverly Hills, on view through October 29, 2016. Elderfield remarks: "The traditional way, of course, is to make a drawing as the basis of a painting, then add color to it. In 'Mountains and

Mary Jacobus blogs about the "inventive use of literary quotation and allusion throughout [CyTwombly's] long career and his relation to poetry as an inspiration for his art," the subject of her new book Reading Cy Twombly: Poetry in Paint (Princeton University Press).

Laura Mylott Manning interviews artist Samuel Jablon on the occasion of his show Over Heard at Diane Rosenstein Gallery, L.A., on view through October 15, 2016. Jablon comments: "I was writing a lot of poetry and I was painting a lot. I always felt both were missing something… so I combined them. The combination of

Addison Parks blogs about the work of Gregory Amenoff on the occasion of Amenoff's exhibition of new paintings at Alexandre Gallery, New York, on view through October 29, 2016. Parks writes that "[Amenoff's paintings] are a noble quest, a torch taken up from the likes of the Arthur Doves of this world, along with his

Lilly Wei interviews artist Li Huasheng. In her introduction, Wei writes: "Li’s point of view seems similar in orientation to that of Agnes Martin, say, although he believes art should be pure, and eastern and western cultures, evolving separately, are utterly different. Line, nonetheless, is of vital importance to both artists and "everything," says Li,

Shana Dumont Garr reviews the recent exhibition Stephanie McMahon: Close to Me at T+H Gallery, Boston. Garr writes: "In Blue Nude (2016) ... sharp angles still betray the human touch and coexist with more organic brushwork. These are among the paintings that offer a contemporary take on a collage sensibility, one informed by the digital

Norbert Marszalek blogs about a visit to Red: Ming Dynasty/Mark Rothko at the The Arthur M. Sackler and Freer Gallery of Art at the Smithsonian Institution, Washington D.C., on view through February 20, 2017. Marszalek writes: "The painting is Rothko’s Untitled (Seagram Mural sketch) from 1959 that was part of his Four Seasons commission. The