Abstraction — Page 7

Len Green reviews Patrick Jones: No Pasaran recently on view at the PS45 Gallery, Exeter, March 10 – April 9, 2017. Green begins: "The exhibition “No Pasaran” represents a life-long artistic journey by Patrick Jones, a journey which illustrates how he and his work have been affected by artistic influences from America and Europe. The

Thomas Micchelli writes about the paintings of Patricia Satterlee whose exhibition Already Gone is on view at the Martin Art Gallery of Muhlenberg College, PA, through May 26, 2017. Micchelli writes: "These forms are limitlessly varied and undeniably strange... Satterlee puts these motifs through their formal paces — rotating and mirroring them; reducing them to

Steven Alexander blogs about Joan Waltemath: Fecund Algorithms at Anita Rogers Gallery, New York, on view through June 1, 2017. Alexander writes: "Waltemath's rich surfaces are built with a dizzying variety of materials, and her process occupies an uncanny zone between precision and spontaneity, with the physicality of the material being always present. Like visualized

Jed Perl reviews Robert Rauschenberg recently on view at Tate Modern, London. The exhibition will be on view at the Museum of Modern Art, New York from May 21 - September 17, 2017, and the San Francisco Museum of Modern Art from November 4 - March 25, 2018. Perl writes: "The trouble with Robert Rauschenberg

Hearne Pardee reviews Dona Nelson: models stand close to the paintings at Thomas Erben Gallery, New York, on view through May 13, 2017. Pardee begins: "Dona Nelson’s new works excite not just with their vigorous improvisation and inventive use of materials but with a new interactivity among the paintings themselves. After deconstructing conventional painting with

Dana Gordon matches painterly intuition with a philosophical awareness of the great history of art in which he takes part.

LeRonn P. Brooks conducts an extensive interview with painter James Little as part of the BOMB Magazine Oral History Project. In his introduction to the conversation, Brooks notes: "[Little's] paintings are guided by intuitive responses to form, color, and feeling. This approach is not overly calculated, though its complexity may suggest so. His expression is

Harry Hay reviews the recent exhibition Brancaster Chronicles at Greenwich at the Heritage Gallery. The show features works by Alexandra Harley, Anne Smart, Anthony Smart, Emyr Williams, Harry Hay, Hilde Skilton, John Bunker, John Pollard, Mark Skilton, and Robin Greenwood. Hay writes: "... if one was to visit the Brancaster Chronicles website, and if they

Joanne Mattera photoblogs a tour of the recent exhibition Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965 at the Grey Art Gallery, New York University. Mattera notes: "Looking back, as this exhibition allows you to do, you see how important these cooperative efforts were, not only for the artists--many of whom went on to

David Carrier reviews Harvey Quaytman: Hone at Van Doren Waxter, New York, on view through April 28, 2017. Carrier writes: "In the 1980s when I met him, I got to know a great many abstract painters. Harvey was the happiest artist I had the pleasure of meeting. I think, even if you never met him,

Becky Huff Hunter reviews Quicktime at the Rosenwald-Wolf Gallery, University of the Arts, Philadelphia, on view through April 22, 2017. The show features works by Marina Adams, Amy Feldman, Ann Craven, Melissa Meyer, and Patricia Treib. Hunter writes: "In the show, twelve recent, mostly large-scale, conventionally stretched works share fast-looking brush strokes; few visible layers

Raphael Rubinstein reviews Painting Paintings (David Reed) 1975 on view through May 21, 2017 at 356 S. Mission Rd, Los Angeles, California (previously on view at the Rose Art Museum at Brandeis University and Gagosian Gallery, New York). Rubinstein writes: "I came out of 'Painting Paintings (David Reed) 1975' at Gagosian, where I saw this

Jenny Uglow reviews Howard Hodgkin: Absent Friends at the National Portrait Gallery, London, on view through June 18, 2017. Uglow writes: "It always feels wrong to scatter words around Howard Hodgkin’s paintings. Their tactile richness should just burn into eyes and minds, leaving a trace behind the eyelids, a memory to which we can return.

Gwenaël Kerlidou considers the work of Roger Bissière. Kerlidou writes: "With [Bissière's] disappearance, a whole chapter of Modernism, one that we could call the 'Primitive Paradigm,' came to a close. The end of the primitive model in Modern art also signaled the emergence of what would later be called the Postmodern. While, in the typical

Emyr Williams reviews Alan Gouk: New Abstract Colour Paintings at the Hampstead School of Art, London, on view through May 12, 2017. Williams writes: "Greens drag through yellows and vice-versa, creating limes, reds through purples and purples through magentas. Blue is often bonded with white, and white is used to kick areas into a bristling

Jennifer Samet interviews painter Albert Oehlen on the occasion of his exhibition Elevator Paintings: Trees at Gagosian Gallery, New York, on view through April 15, 2017. Oehlen comments: "I decided to make painting, but I wasn’t coming from painting in the sense of needing to hold a brush and smear paint. Rather, it was a

John Yau reviews Anoka Faruqee: Rainbows and Bruises at Koenig & Clinton , New York, on view through April 8, 2017. Yau concludes: "By opening up the geometric while maintaining a painstaking approach, Faruqee seems to have entered new, uncharted territory. While the Moireseries recalls the history of weaving and decorative fabrics, the white Circlepaintings

Tom McGlynn reviews Al Taylor: Early Paintings at David Zwirner Gallery, New York, on view through April 15, 2017. McGlynn writes: "What at first may underwhelm, in other words, can become an inexorable undertow that sets any preconceived notion of painting adrift in a sea of local allusion and wandering association...There is a token of

James Kalm visits Sean Scully: Wall of Light Cubed at Cheim & Read, New York, on view through May 20, 2017. The gallery press release states that "In this show, Scully underscores the interplay between his two-dimensional and three-dimensional work, employing an expansive array of forms and materials, including oil and spray paint, watercolor, graphite,

Zachary Small reviews Beverly Fishman: DOSE, curated by Nick Cave, at the CUE Art Foundation, New York, on view through April 5, 2017. Small writes: "Similar to the industrial character of her color palette, Fishman’s pills have a glossy, plastic finish. This is another red herring, an effect that might lead a viewer to believe