Link to Post:
http://blog.art21.org/2013/06/07/nycu-eddie-martinezs-risky-business/
Jonathan Munar posts a new video about painter Eddie Martinez. In the video Martinez discusses the desire to seek a new, abstract direction in his work, a desire that was realized in his recent exhibition, Matador, at Journal Gallery, Brooklyn.
On changing from figurative to abstract painting Martinez says: "I really have to go into the paintings a little bit more to figure them out, to pull their potential out of them. Because I don't necessarily know what the imagery is and I don't know what the moves are going to be as readily as I did when painting a bouquet of flowers over and over and over again."
Link to Post:
http://structureandimagery.blogspot.com/2013/06/in-process-with-brian-edmonds.html
As part of the In Process series, Paul Behke posts about the development of several tondo paintings by Brian Edmonds.
Behnke writes: "Edmonds allows us a step by step look at two recent works: A Darker Dark and The Brute. Both examples speak to the importance of process and materials in Edmonds' painting as he rethinks and reapplies form and color again and again. This process is made more difficult as Edmonds composes within the untethered format of the tondo, forgoing the comfort and security that a more typical rectangle or square would provide."
Submitted by Brett Baker on June 6, 2013
Ying Li / Eve Aschheim: Recent Paintings is on view at the New York Studio School from June 6 - July 20, 2013, Opening reception: Thursday, June 6, 6-8 PM
In a new video, produced by John Thornton, Ying Li discusses her approach to painting:
"I want to paint as directly as I can. I want each painting to really be individual. Always I paint outside - I paint in the summer, I paint in the snow, rain… because I like the change of the weather… I'm not interested in describing the place but more I like to get a feel of what's in front of me, what kind of a mood… The texture out there is incredible. I want the painting to feel like it's dug out of the earth. They're not a polished thing, they're rough, like tree bark. Painting is really not still, painting is a live thing. "
Link to Post:
http://www.artcritical.com/2013/05/27/deshawn-dumas/
Mary Negro profiles artist DeShawn Dumas on the occasion of his exhibition Future Primitive at Janet Kurnatowski Gallery, Brooklyn, New York, on view through June 22, 2013.
Negro writes: "Dumas’s diamond-shaped abstract works present the viewer with lofty concepts rooted firmly in both historical materialism and art historical interests. The initial surface of his paintings is composed of translucent scrims of chiffon, fiberglass window screens, geometric pieces of steel, and brightly colored layers of vinyl. These banal and industrial materials are suspended above a canvas support. It is on this foundational (canvas) substratum that Dumas engages in a ritualistic application of socio-historical substances: flour, coffee grinds, sugar, and pages from the King James Bible. Formally speaking, Dumas’s paintings or self-described 'vehicles' emphasize the flatness of the picture plane, while still asserting the sculptural concreteness of these visual objects. In a way Dumas’s vehicles reference polygon modalities of Constructivist painting and the architectonic qualities of Minimalism. However, due to the use of translucent material, seemingly flat areas of color eventually permit the viewer’s gaze to pass into the depths of these wall works."
Link to Post:
http://elisabethcondon.blogspot.com/2013/05/out-and-about-on-les.html
Elisabeth Condon photo blogs a studio visit with painter Kylie Heidenheimer and three Lower East Side exhibitions: Amanda Browder's painterly installations in Prism/Livin/Room at Allegra La Viola (through May 24), Don Voisine at McKenzie Fine Art (through June 9), and The Thrill of the Ideal, Richard Tuttle: The Reinhart Project at Pocket Utopia (through June 9). Heidenheimer's paintings will be on view at Galerie Gris in Hudson, NY in June.
Link to Post:
http://www.gorkysgranddaughter.com/2013/05/frank-holliday-april-2013.html
Christopher Joy and Zachary Keeting visit the studio of painter Frank Holliday.
Holliday recalls being to paint in plein air on a trip to Australia: "there's all my color theory and there's time and there's meaning - it was all there… with the weather and the light. It changed constantly… it solved all my problems..." He continues, remarking on his work: "These paintings don't push you out, they let you in, they let you have an experience. Yes, you're seeing something beautiful… it's escape. It's like solution instead of painting the problem… You can have great painting, it can be open, it can be beautiful, it can be yours."
Link to Post:
http://structureandimagery.blogspot.com/2013/05/in-process-with-sabine-tress.html
Paul Behnke photo blogs the progress of Sabine Tress' painting My Beautiful Valentine (2013).
Tress comments: "My work is more and more based on experimenting. It evolves through the working process which leaves a lot of room for changes and surprises. The piece 'My beautiful Valentine' is one of my latest paintings and it is quite big, 220x200cm... I wanted it to be light and open and at the same time bold and impressive. It´s also very tricky because although I want to experiment I also want harmony in the painting and finish it quickly."
Link to Post:
http://www.gorkysgranddaughter.com/2013/05/fabian-marcaccio-may-2013.html
Zachary Keeting and Christopher Joy visit the studio of painter Fabian Marcaccio.
Marcaccio discusses his large scale "environmental" paintings which he describes as "creating a zone where your peripheral vision and your central vision can could keep putting together parts of the painting so the painting really is not an object but is a zone. It is actually a spatial, temporary situation, an expansion of the painting… you can see details that get at a totality."
Marcaccio argues that great painting is about amplification. "There is something that I chase," he says "that is how to amplify the given rhetorics of painting in order to let you have an intimacy with it."
Link to Post:
http://www.gorkysgranddaughter.com/2013/05/tamara-gonzales-may-2013.html
Zachary Keeting and Christopher Joy visit the studio of painter Tamara Gonzales.
Gonzales generously discusses her process which involves lace and spray paint. She shares an interesting perspective on the physically demanding nature of spray painting in relation to traditional oil painting, as well as other differences and advantages the technique offers including speed and a uniform surface. "Even though it's a real additive process," Gonzales remarks, "you don't feel it… they have a certain ease."
Link to Post:
http://www.gorkysgranddaughter.com/2013/05/alexi-worth-april-2013.html
Christopher Joy and Zachary Keeting visit the studio of painter Alexi Worth.
Worth discusses his recent work: " ...a few years ago I got very interested in the idea of nearness, things that are right up between your hand and your face, so… your own shadow, or an implication or suggestion of it, is designed to push that idea that you're there." He also comments on the technical decision to begin painting on nylon mesh, and the affect it has had on the work: "there's a kind of solid/void difference in the surface - the surface can collaborate with the illusionism."
Alexi Worth: States is on view at DC Moore Gallery, New York, through June 15, 2013.
