Link to Post:
http://contemporarydrawingsalon.blogspot.com/2013/02/a-converstaion-with-artist-pete-schulte.html
Yifat Gat interviews artist Pete Schulte about his art and practice.
Gat notes that Schulte works "with graphite on paper but the result feel like 'a painting' not like 'a drawing'. " Schulte reponds, commenting that "artists from Bonnard to Richard Serra have linked the act of drawing to thinking – an observation with which I agree – however, I will take it a step further and say that for me drawing often precedes thought. The drawings occasionally act as my guides, they provide content and direction, and eventually cognition catches up. It has also been said that drawing essentially reveals the act of its making, while painting subsequently erases it. If one were to invest in this train of thought, then it is easy to see how much of my work could fit more readily into the category of painting."
Link to Post:
http://www.paintersbread.com/2013/03/amanda-friedman-interview.html
Michael Rutherford interviews painter Amanda Friedman about her work and studio practice. Friedman's work was recently on view at Eli Ping, New York.
Rutherford writes that "the expansive, sprawling swaths of paper that Amanda Friedman refers to as Thought-forms have pulled me into their orbit and provided plenty to think about. The painted surfaces, existing not on canvas but on pieced-together fields of paper, have a delicate and ephemeral feeling, as if they’re conveyors of fleeting things that cannot be uttered; things unsaid but definitely sensed visually. In the near future, I anticipate spotting more of these works—enigmatic continents of emotion adrift on seas of white spaces."
Link to Post:
http://www.gorkysgranddaughter.com/2013/03/becky-yazdan-feb-2013.html
Zachary Keeting and Christopher Joy visit the studio of painter Becky Yazdan.
Yazdan describes how she works "from memories, personal narrative and storytelling… Painting for me, is a way to process all the stuff that's going on in my head, it's a way to get my own personal narrative. Those layers, thinking about things in different contexts and through different filters almost, is what's interesting to me… I'm doing this kind of Proustian experience... this kind of slow thinking and remembering… and I hope that some of that gets into the painting… when they're successful I feel like some of that [experience] has stayed."
Becky Yazdan: Recent Paintings is currently on view through March 29, 2013 at Giampietro Gallery, New Haven.
Link to Post:
http://paintingperceptions.com/landscape-painting/interview-with-lucy-macgillis
Larry Groff interviews painter Lucy MacGillis about her work.
MacGillis comments: "I always paint from life. In the landscape I remove and add where it works best for the painting, but I’m out there. The experience of being physically in the landscape I’m painting is important, the heat, the smells, the sounds of the nearby sheep, the train’s distant horn, the light. I’m convinced that it all plays into the feel of the painting and I react to all this. There is so much to see and the longer you look the more you find. I look for shapes, I forget what object I’m painting, just look and mix and put paint down... I like to simplify what I see, push it into abstraction. I make marks with the palette knife or a large flat brush. I scrape down a lot, mix strange greys, mixing compliments... I work on some paintings for months, others just happen in a couple of sittings. I enjoy the faster paintings most..see I’m painting this very sort of picturesque landscape here, I don’t want to make pretty paintings, so I’m looking at planes and color and trying not too get too hung up with insignificant details."
Link to Post:
http://www.gorkysgranddaughter.com/2013/02/todd-kelly-at-asya-geisberg-gallery-feb.html
Christopher Joy and Zachary Keeting interview painter Todd Kelly at his exhibition My Own Personal Rebus at Asya Geisberg Gallery, New York, on view through March 9, 2013.
Kelly, who employs a surprising range of style and subject matter in his work, describes how he thinks of painting "as a method of thinking... With this show, especially, instead of trying to narrow it down to one thought, I'm just allowing whatever thought comes into my mind - I'm going to work with it, I'm going to… make that into the painting."
Link to Post:
http://studiocritical.blogspot.com/2013/02/douglas-witmer.html
Valerie Brennan interviews painter Douglas Witmer about his work and process. Witmer's exhibition All Kinds of Ways to Your Garden was recently on view at Blank Space, New York.
Witmer comments: "Even though my current work may be categorized as geometric, I think I'm quite 'gestural' in my approach to it. Almost every decision I make ultimately comes down to how it feels, or how I imagine that the result will feel to me physically. And when I say physically, let's not forget 'optically.' Seeing often gets connected to thinking very quickly…perhaps more quickly than any of the other senses. I want to stay as long as possible in the moment of feeling myself seeing. I feel best about my work when I feel myself wanting to keep looking at it for the feeling I get when I see it."
Link to Post:
http://structureandimagery.blogspot.com/2013/03/studio-visit-tom-burckhardt.html
Paul Behnke visits the studio of painter Tom Burckhardt.
Behnke writes: "Burckhardt's work blurs the lines between painting and sculpture, the Modern and the Conceptual.... [his] work often deals with traditional stereotypes of artists viewed through an individually conceptual filter. He describes his personality as a wedge between the motivating force of doubt (think de Kooning or Guston) and the absurdity of placing oneself in that position. But let's not forget that these are striking paintings as well even without Burckhardt's keen, direct and conceptual observations."
Link to Post:
http://www.gorkysgranddaughter.com/2013/02/susanna-heller-feb-2013.html
Zachary Keeting and Christopher Joy visit the studio of painter Susanna Heller.
Heller comments: "It took me a good ten years to figure out how to engage the city, how to draw it, how to paint it, how to picture it… it wasn't exactly about its look, it's more about its being. If you think of New York as a character, that's in action all the time, I wanted to make paintings about the life of the city, the way it moves... the weather, the movement and my movement. To me space and time and travel is more the subject of the city than the objects. The objects are there as stopping points, but they're not the subject." She continues: "I walk everyday, and I draw when I walk. The idea of recording… these paths that only we're creating… It's a crazy world of incredible contrasts. You look down at some old garbage and rust, you look up - seven million people, ten million people. What kind of story is that? You can be really alone and really claustrophobic, things are really clustered and really open and yet the sky and the clouds are so much more massive above it all."
Link to Post:
http://www.gorkysgranddaughter.com/2013/02/vincent-como-feb-2013.html
Christopher Joy and Zachary Keeting visit the studio of artist Vincent Como.
Como descirbes his interest in "the idea of this surface, this pristine plane that references monochrome painting, references this history ingrained in modern art, and then like a black hole, it's collapsing on itself… succumbing to the weight of its own history." He continues: "The stacked canvases are definitely about that pristine monochrome surface, but also that surface failing to achieve perfection… reiterating that over and over with each successive canvas so it becomes this monument to its own failure... a lot of the work is about tradition, modernity and this utopian ideal and the impossibility of that ideal."
Link to Post:
http://studiocritical.blogspot.com/2013/02/david-quinn.html
Valerie Brennan interviews painter David Quinn about his work and process.
Quinn explains: "For the past two years I have been working almost exclusively on panels which are 205 x 133mm. The starting point can be anything, a colour, a found piece of paper, another painting etc.. I work on a lot of pieces at the same time. I like being able to see as many of them as I can while I am working. They feed into and off each other, some sit for ages before coming to fruition others can come together quite quickly, the trick is knowing when to step back. I like to layer things up. I probably approach each piece more like a page in a notebook, that's why having lots is important, it means I don't get too precious... I want each piece to contain an element of the unexpected..."
