Link to Post:
http://www.gorkysgranddaughter.com/2012/09/riley-brewster-august-2012.html
Zachary Keeting and Christopher Joy visit the studio of painter Riley Brewster.
Brewster begins by noting his current approach to painting: "I find myself, at this point, returning, not starting from, but returning to, a recognition of an essentialized sense of internal relationships - in terms of form in space, or form as space - inside of the painting. It's something that needs to be felt as found, and so achieved rather than painted from in each painting."
Link to Post:
http://www.gorkysgranddaughter.com/2012/09/jacob-feige-august-2012.html
Zachary Keeting and Christopher Joy visit the studio of painter Jacob Feige.
In a review of Feige's exhibition After Dense Fog at Lombard Fried Projects, for Frieze Magazine, Christopher Bedford wrote: "Jacob Feige’s work explores the threshold that divides and binds mimetic and abstract painting... Feige’s fondness for 19th-century Romanticism and the sublime landscape tradition in particular is evident in almost every canvas. Rendered with an airy, atmospheric touch, these grand, unspoiled vistas do not dominate the pictorial field, but rather occupy the background, while the foreground is given over to gestural abstraction and/or hard edge, Technicolour geometries. The spatial implausibility of these modernist elements inscribed upon Feige’s often idealized landscape depictions yields far more harmonious compositions than one might expect. Nevertheless, his paintings retain an edgy, propositional quality."
Link to Post:
http://realartrealfood.blogspot.com/2012/09/beer-with-painter-clintel-steed.html
Jennifer Samet talks with painter Clintel Steed about his work and the experience of painting from life.
Steed remarks: "Painting is being open to what’s around you. But you are imagining, you are coming up with an idea, and you give in to ideas. It is always a push and pull. To me it’s like the computers. It’s the opportunity to make something epic. You ride the wave of the text until you get to the moment. The way we live life right now is that there is a lot of jumbling. Everything becomes fractured. Like how music now is different from what it was in the 1980s. Then, every song was five minutes. There was time to take a breath. Now they are all 2-3 minutes, and that seems long. But, I was reading this book about the sublime. The sublime is now. I think that everybody, when they are making a painting, is trying to be in the sublime: that moment when they are not thinking, but in the present."
Link to Post:
http://art-rated.com/?p=659
Jonathan Beer interviews painter David Schnell about his work and practice. The exhibition David Schnell: morgen is now on view at Galerie Eigen+Art, Leipzig, Germany through December 15, 2012.
Schnell comments: "There is this amazing moment when a click happens. In almost every painting there is this moment when something little happens and you say ‘Ok, that’s it!’ Perhaps there are a few small things after that, but that’s mostly it. I cannot describe how or when this happens, but, sometimes I think that I have to do a lot of things and then a little thing does it. In the last few years, things changed a lot. I used to have much clearer ideas about how the painting should look but now, in the last two or three years, things are just developing out of the painting process itself, drops and drips. It’s difficult to say…it’s magic! [Laughs] Sometimes I equate painting to physics or mathematics…there are many possibilities but in the end there is only one way to find a particular painting. The funny thing is that I’ll have a studio visit, and other people will realize when the painting is finished. They notice the same little thing I do that finishes the painting. One thing I love about painting is that it’s not very describable. In German we say Gesetzmäßigkeit, it’s so open but also very fixed."
Submitted by Brett Baker on September 21, 2012
Nick Miller, Yard, is on view at Rubicon Gallery, Dublin through October 27, 2012. This exhibition features Miller's final Truckscape paintings, landscapes painted from the back of a truck that Miller converted to a studio in 2007. In addition to being a mobile studio environment, the truck interior became a formal element, framing the landscape in many of Miller's paintings.
Link to Post:
http://www.gorkysgranddaughter.com/2012/09/tom-burckhardt-sept-2012.html
Christopher Joy and Zachary Keeting visit the studio of Tom Burckhardt who discusses his work and questions of authenticity and doubt in painting.
Burckhardt elaborates on ideas he shared with John Yau in a recent interview: "I do like the idea, like I said, of embedding this doubt. I also think that in a way it makes them from the beginning, yeah, fake in a certain way. They’re kind of like a representational sculpture. And then from that fake, false beginning, maybe they’re a little bit like masks, somehow. It’s my job to wrestle them back into integrity with the painting. I was thinking that the early work squashed something down to the ground and then they grew up; and, to me, these come out laterally into a point of integrity. You know, I really love painting, but I also want to make fun of it. I want to have that full range of experience. I don’t want to be a true believer, and wear blinkers about it. I want to acknowledge its absurdity, that’s the thing. I think the key word is 'absurdity,'and I always thought that 'absurd' is a lovely, generous word about a relationship to something."
Tom Burckhardt: Pretty Little Liars will be on view at Tibor de Nagy, New York, October 17 - November 24, 2012.
Link to Post:
http://www.gorkysgranddaughter.com/2012/09/claudia-chaseling-sept-2012.html
Christopher Joy and Zachary Keeting visit the studio of Claudia Chaseling whose work was recently on view in the exhibition Claudia Chaseling: Infiltration at SLAG Contemporary, Brooklyn.
Reviewing that exhibition at Artcritical, Christina Kee wrote that there is "a tradition of 'painting away from the canvas,' from the playful off-frame whimsies of the baroque and mannerist artists through to Fontana to Stella. More recent variations of the approach tend to draw from a modernist challenge of the conventions of the form, often powerfully – and cerebrally – questioning expectations of illusionism and representation. Chaseling, by contrast, seems to be working from a less self-conscious motivation. Her hors-piste maneuvers refreshingly appear to spring from a spontaneous, if anxious, impulse to shift the impact of the painting beyond the restrictions of the canvas’s home base."
Link to Post:
http://studiocritical.blogspot.com/2012/09/ted-gahl.html
Valerie Brennan interviews painter Ted Gahl about his work and studio practice.
Gahl comments: "I do a lot of drawings on napkins at bars and restaurants, and I keep all of them. My larger works are usually derived from these small drawings, and the paintings are kind of a record of the images and ideas. The paintings become these tapestries of collaged drawing imagery."
Link to Post:
http://www.gorkysgranddaughter.com/2012/09/trudy-benson-sept-2012.html
Zachary Keeting and Christopher Joy visit the studio of painter Trudy Benson.
Referring to a painting in the studio, Benson comments that there were "several points when I just kind of wanted to throw in the towel... rather than... scrape anything off I started doing these scribble lines either in spray paint or paint squeezed out of the tubes... I want the history of the painting to be there and I try not to think about things being mistakes in the painting... they're part of the painting."
Link to Post:
http://www.gorkysgranddaughter.com/2012/09/elizabeth-osborne-august-2012.html
Zachary Keeting and Christopher Joy visit the studio of painter Elizabeth Osborne.
Although Osborne painted figuratively for many years, the video studio visit provides a glimpse of many of her new abstract paintings. Obsborne describes how the new works came out of a previous group of landscape paintings, but rely on "memory" rather than direct observation.
