Abstraction — Page 15

James Panero reviews Stuart Davis: In Full Swing at the Whitney Museum of American Art, New York, on view through September 25, 2016. Panero writes: "The particular genius of Davis’s subsequent modernist direction was how he went on to integrate European stylistic innovation with his unique Ashcan vision. Through the flattening, flickering, fleeting perspectives of

Blog post revisiting Jack Kroll's April 1961 profile of painter Richard Pousette-Dart, republished on the occasion of the exhibition Richard Pousette-Dart: The Centennial at Pace Gallery, New York, on view through October 15, 2016. Kroll writes: "The art of Richard Pousette-Dart seems very much in the line of American “home-made” eidolonian transcendentalism. He is a

Edward M. Gómez reviews Elisabeth Condon: Bird and Flower at Lesley Heller Workspace, New York, on view through October 16, 2016. Gómez writes: "To produce her latest canvases, Condon has experimented with some new approaches that, in effect, have made the production of her variety of abstraction as much the subject of these new works

Mark Pohlad reviews Contemplations: Dan Ramirez Works from the Permanent Collection at the National Museum of Mexican Art, Chicago, on view through October 9, 2016. Pohlad writes: "Ramirez’s works reward careful viewing. Lines gradually attenuate and vanish, the edges of pieces are painted, and shadows are cast by slightly askew interstices. But all this formal

Maria Howard reviews Etal Adnan: The Weight of the World at the Serpentine Gallery, London, on view through September 11, 2016. Howard writes: "[Adnan's] paintings evoke sheer joy, their style unpretentious, not naive but innocent, at odds with her poetry and writings that bear witness to the violence of the world. They may seem like

Laila Pedro interviews painter Carmen Herrera on the occasion of Herrera's retrospective Lines of Sight at the Whitney Museum of American Art, New York. The show will be on view from September 16, 2016 - January 2, 2017. In her introduction Pedro notes: "that [Herrera refers to her works as] not paintings, they’re not sculptures—they’re

Curt Barnes writes about painter Morris Louis. Barnes writes that although Pollock and Frankenthaler made great achievements in "painting as phenomenon," Louis "remains the most vivid for me. The usually monumental size of his work could suggest a towering ego, yet somehow it needs to fill your field of vision, occupy an entire wall to

Paul Laster interviews artist Jessica Stockholder on the occasion of her exhibition The Guests All Crowded Into the Dining Room at Mitchell-Innes & Nash, New York, on view through October 1, 2016. Stockholder comments: "I suppose I consider my work a kind of picture making. I’m interested in the idea of framing—the notion that artworks

Tom Burckhardt, Clare Grill, and Sangram Majumdar discuss their painting process and its relation to image-making.

Artist Helen O'Leary discusses her artistic background and the origins of her current body of work.

For the inaugural show at Damian Hirst’s Newport Street Gallery, the artist has curated a show of paintings by the late John Hoyland.

Pat Steir discusses her work while painting in her Vermont studio.

Eating Painting presents works that embody painting as an immersive sensory experience - the “consumption of paint as color and substance.”

Michael Rutherford blogs about paintings by Sarah Faux. Rutherford writes: "There's been much said about how abstraction is very prevalent in contemporary painting these days, but there are those who are producing some wonderful work in a unique figurative vein as well, with precedence found in artists such as George McNeil and Amy Sillman. The

Painters’ Table readers are invited to an exhibition of recent paintings at the Elizabeth Harris Gallery, New York.

Whitney’s abstractions remind us of the sumptuousness that surrounds us, then propel us back out into the world to see it for ourselves.

Michael Rutherford interviews painter Ken Weathersby about his work. Weathersby comments: "There is a certain territory that I’ve been involved in for eight or nine years, to do with reshuffling the given parts of painting. By 'given parts' I mean the wooden stretcher, the canvas or linen, the paint film, staples or hardware—the things paintings

Seto’s paintings never completely disavow the natural world for a purely intellectual one, existing instead as an open means of representation situated somewhere between.

An exhibition of early works by Pat Passlof tells the story of a talented, audacious painter coming of age during a legendary decade of New York painting.

Joanne Greenbaum, Philip Taaffe, and Stanley Whitney discuss themes of authenticity and painting as a worthy, and a necessarily lifelong pursuit.