Landscape Painting
Celia Reisman: A Moment Noticed
Phindie
Lev Feigin reviews Celia Reisman: A Moment Noticed at Gross McCleaf Gallery, Philadelphia, on view through May 26, 2017. Feigin writes: “Only in ‘Echo Park Coral’ do we witness contact between two people. The couple at the lower end of the composition – we only see their heads and shoulders – face each other in […]
Joan Eardley: A Sense of Place
Studio International
Christiana Spens reviews Joan Eardley: A Sense of Place at the Scottish National Gallery of Modern Art, Edinburgh, on view through May 21, 2017. Spens writes: “By combining the freedom of abstract expressionism, along with the familiarity of local places, [Eardley] invoked a wild sublime in these Scottish scenes that remains unique and arresting… Eardley’s […]
Constable and Brighton
Studio International
Anna McNay reviews Constable and Brighton at the Brighton Museum & Art Gallery, on view through October 8, 2017. McNay writes: “The exhibition is structured around three walks that Constable would regularly make: westwards towards Shoreham Bay, northwards towards Devil’s Dyke, and eastwards to the Chain Pier. Largely eschewing the town centre, he would systematically […]
Maureen Gallace @ MoMA PS1
New York Times
Jason Farago reviews Maureen Gallace: Clear Day at MoMA PS1, Queens, on view through September 10, 2017. Farago writes: “… Ms. Gallace does not paint en plein air. These seemingly regional artworks are created in a New York City studio far from the hush of New England, with the help of sketches and photographs. Note […]
Camille Pissarro: The First of the Impressionists
Apollo Magazine
Laura Gascoigne reviews Camille Pissarro: The First of the Impressionists at the Musée Marmottan Monet, Paris, until July 2, 2017. Gascoigne begins: “If asked to name the key figure in Impressionism, few people today would nominate Camille Pissarro… Yet to his contemporaries this quiet revolutionary was the unifying force behind the movement that he had helped […]
Marsden Hartley’s Maine
Studio International
Jill Spalding reviews Marsden Hartley’s Maine at The Met Breuer, New York, on view through June 18, 2017. Spalding writes: “A curatorial triumph for how convincingly Hartley’s meditations on Maine present as defining his modernist vision, the show serves as successfully to broaden our understanding of modernism. These burning canvases are not a style, they […]
David Driskell: The Last Master
Down East
Charlotte Wilder profiles painter David Driskell on the occasion of David Driskell: Renewal and Form at the Center for Maine Contemporary Art, Rockland, on view through May 11, 2017. Wilder writes: “Driskell’s work marries the natural with the spiritual, and he’s known for incorporating the iconography of Christianity and of various African and Afro-Atlantic traditions… Many of Driskell’s […]
Julian Hatton
Vasari 21
Ann Landi profiles painter Julian Hatton, whose exhibition Free Range will be on view at Elizabeth Harris Gallery, New York, from April 20 – June 3, 2017. Hatton tells Landi: “I consider the small ones complex little worlds where there’s enough information for me to crawl in there psychologically … To some degree, my paintings […]
Elliott Green @ Pierogi
Hamptons Art Hub
Peter Malone reviews Elliott Green: Human Nature at Pierogi Gallery, New York, through March 26, 2017. Malone writes: “What’s unique about Elliott Green is how he strides confidently right over the rumbling fracture. Brandishing all manner of surface gymnastics, he takes the staid genre of landscape painting and puts it through a gantlet of techniques […]
Alfred Sisley @ the Bruce Museum
Hamptons Art Hub
Susan Hodara reviews Alfred Sisley (1839-1899): Impressionist Master, an exhibition of 50 paintings at the Bruce Museum, Greenwich, Connecticut, on view through May 21, 2017. Hodara notes that the show “is the artist’s first retrospective in the United States in more than 20 years… [curator MaryAnne Stevens] described Sisley as ‘a pure Impressionist.’ A dedicated […]
Elliott Green: The Painter of Continuous Motion
New York Review of Books
Jana Prikryl writes about the paintings of Elliott Green which are on view at Pierogi Gallery, New York, through March 26, 2017. Prikryl begins: “Elliott Green’s paintings appear to be in continuous motion, the way animals, plants, and ultimately rocks and mountains are in continuous motion, even when our human vision fails to apprehend it. […]
Joan Eardley: A Sense of Place
The Guardian
Frances Spalding reviews Joan Eardley: A Sense of Place is at the Scottish National Gallery of Modern Art, Edinburgh, on view through May 21, 2017. Spalding writes: “[Eardley’s] intense looking and her method of drawing affirm her admiration for Van Gogh, and an affinity between her urban work and his involvement with the coal mining […]
Martin Johnson Heade @ the Milwaukee Art Museum
New City Art
Chris Miller reviews Nature and Opulence: The Art of Martin Johnson Heade at the Milwaukee Art Museum, on view through February 26, 2017. Miller writes: “Heade joined the mid-century enthusiasm for exploring biological and geological diversity. He traveled to South America to paint landscapes and exotic hummingbirds. His ornithological designs don’t reach the ornate intensity […]
Etel Adnan @ the Institut du Monde Arabe
Flash Art
Martha Kirszenbaum reviews a recent exhibition of works by Etel Adnan at the Institut du Monde Arabe, Paris. Kirszenbaum concludes: “Throughout this intimate retrospective, Adnan’s voice, both feminist and pacifist, reveals itself through her interwoven influences, languages and techniques. She observes her itinerancy, from Smyrna to Beirut, and from Sausalito to Paris, with a generous […]
Paul Nash @ Tate Britain
London Review of Books
T.J. Clark writes about works by Paul Nash at Tate Britain, London, on view through March 5, 2017. Clark begins: “Paul Nash is as close as we come, many think, to having a strong painter of the English landscape in the 20th century. The uncertainties built into the wording here are part of the point: […]
Susan Abbott: Interview
Painting Perceptions
Larry Groff interviews painter Susan Abbott. Abbott remarks: “I used to go back and forth on trying to figure out how to construct my paintings. It felt like a very big philosophical issue to me, and was exhausting (much more so than the actual painting) to try to decide whether there was a right and […]
Michael Andrews: Earth, Air, Water
The Independent
Michael Glover reviews Michael Andrews: Earth, Air, Water at Gagosian Gallery, London, on view through March 25, 2017. Writing about Andrews’ painting Thames Painting: The Estuary (1994–95), Glover asks: “What exactly is the painting’s vantage point? High, certainly, almost sea-gull high perhaps. We teeter there, looking down, across, and side to side, never quite getting […]
Paul Nash’s Commitment to the English Landscape
Apollo Magazine
Peter Parker reviews works by Paul Nash at Tate Britain, London, on view through March 5, 2017. Parker writes: “… the overarching theme remains Nash’s lifelong engagement with the English landscape. In his fragmentary autobiography … Nash recalled his sudden youthful awareness in Kensington Gardens of the meaning of place: ‘there was a peculiar spacing […]
Derek Buckner: Interview
Painting Perceptions
Larry Groff interviews painter Derek Buckner whose work was recently on view at George Billis Gallery, New York. Buckner notes: “… one of the reasons I am drawn to the industrial landscape is because it is visually different than what we see in our usual urban surroundings. The trucks are different, the structures are different, they […]
Grant Drumheller: Interview
Painting Perceptions
Larry Groff interviews painter Grant Drumheller whose work will be on view at the Prince Street Gallery, New York from December 1 – 29, 2016. Drumheller remarks: “The notion of making a painting is the farthest thing from my mind. I want a painting experience! Even when I am painting a small image, the beginning […]