Link to Post:
http://structureandimagery.blogspot.com/2013/05/in-process-james-erikson.html
As part of his In Process series, Paul Behnke posts a photo-blog about the development of painter James Erikson's Slow Morning (2012).
Of his work Erikson says: "My paintings are abstractions in the sense that at some point in the painting process I’m abstracting from nature, whether consciously at the beginning or through some experience or memory I bring into the studio during the evolution of the painting. Sometimes the painting reminds me of something, a particular mood or memory of a place and it won’t go away -- that becomes the subject of the painting for me."
Link to Post:
http://www.gorkysgranddaughter.com/2013/05/clinton-king-april-2013.html
Christopher Joy and Zachary Keeting visit the studio of painter Clinton King.
King discusses the progress of individual paintings and his studio process. On the resolution of individual paintings he comments: " If it's mysterious to me and I really don't know why they look a little uncomfortable and there's a varying degree of response to them, I think they're successful… "
Link to Post:
http://www.supremefiction.com/theidea/2013/05/studio-visit-james-little.html
James Panero photo-blogs a visit the the studio of painter James Little. The exhibition James Little: Recent Work will be on view at June Kelly Gallery, New York from May 16 - June 18, 2013.
Panero's photo essay documents Little's studio, materials, and process which come together, Panero writes, to realize "a rhythmic sense of composition." He continues: "Shapes, colors, and values all work together to energize the paintings. Little's process requires constant adjustments and an attention to detail. Given the time he puts into each work, he may only create four large paintings a year."
Submitted by Brett Baker on April 25, 2013
Carrie Moyer, Herr Doktor, 2012, acrylic, glitter on canvas, 60 x 72 inches (courtesy of the artist)
Carrie Moyer: Pirate Jenny is on view at the Tang Museum at Skidmore College, Saratoga Springs, NY from January 26 - May 19, 2013.
The following video, produced by the Tang Museum, shows painter Carrie Moyer at work in the studio. She describes her process, which begins with small black and white collages, and discusses her influences - including Miro's The Farm (1921–1922) and paintings by Christian Schad and Alexej von Jawlensky. She also talks about how she arrived at her current body of work:
Link to Post:
http://ffffffwalls.com/2013/04/trudy-benson-navy-yard/
Jonathan Chapline and Lorraine Nam visit Trudy Benson's studio on the occasion of her solo exhibition Paint at Horton Gallery, New York, on view from April 25 - June 2 , 2013.
Benson discusses her process: "For the most part for these paintings, I feel like they are a collage of different painting moves and I approach it the same way you would if you’re making a Photoshop file... In the beginning of the painting, it happens really fast and I can do the first four to five moves pretty fast within one to two days and even up to the first oil move. Then after the first oil paint move, I can only think one step ahead. Even if I try, I sometimes forget what I’m planning on doing and I might change my mind too. Sometimes I work on a few different ideas. There’s a lot of painting that happens outside of the studio at this point. In the work in my last show, I was using a different medium, so things would happen a lot faster. Now everything is drying slow but I actually like that I can be more selective about what moves I make and I actually enjoy taking more time in between steps."
Link to Post:
http://burnaway.org/2013/04/an-ideal-rhythm-studio-visit-with-andy-cherewick/
Rusty Wallace interviews painter Andy Cherewick.
Cherewick discusses his work and the daily practice of painting. He remarks: "The reality is you have to get accustomed to the fear of going into the unknown. You go into the unknown on purpose. If you’re sincere about wanting to do something vital and meaningful, you have to take that step. Fear is always going to be there... When you get to a place where you’re presenting your work and you’re looking at the work individually, are these guys doing something together? Are there little things going on inside them? What’s their relationship? Do they have enough to survive on their own when they get split up, sent to different places? Can each one transmit the story of whatever it is you’re telling in some way, shape, or form? Are you making sure each one of your works is doing that? For me, that’s the hardest thing to see and control and understand. And that is what is happening to your work versus what is happening in the world with your work."
Link to Post:
http://www.gorkysgranddaughter.com/2013/04/nichole-van-beek-march-2013.html
Zachary Keeting and Christopher Joy visit the studio of painter Nichole Van Beek.
Van Beek discusses her recent paintings which derive their visual power from the juxtaposition of opposites. Graphic and painterly marks, pattern and hard-edge shapes, dim and saturated color coalesce in each work to achieve unexpected unities.
Van Beek comments that "a lot of the work is that balance between... 'it happened' and then also having this planned structure. And it comes into play in a lot of different ways. So, being controlled and also being free and having those two things come together..."
Link to Post:
http://danielgalas.blogspot.com/2013/04/aubrey-levinthal-studio-visit.html
Daniel Galas visits the studio of painter Aubrey Levinthal.
Galas writes that Levinthal "varies brushwork, prefers pastel colors, and is not afraid to boldly interpret in subject. Aubrey primarily works from life but doesn't hesitate to alter the composition in any imaginative manner she finds fit. Still life is her subject of choice... mainly cups, tabletops, and food. I love her compositions, the confident loose brushwork, her focus on soft light and atmosphere, the melting of representation into abstraction, and her hints of naive/primitive articulation of form."
Link to Post:
http://www.thoughtsthatcureradically.com/2013/04/matthew-neil-gehring-interview_20.html
Caleb De Jong interviews painter Matthew Neil Gehring about his work on the occasion of the exhibition Matthew Neil Gehring: Brilliant Corners, on view at the Dishman Art Museum, Beaumont, TX, through April 30, 2013.
Gehring comments: "I think that there is a great freedom within a focused practice and the parameters of my natural tendencies, tendencies that have been with me since my earliest work... In many ways, I began as a student with a primary interest in formal work, and I have loved reductive abstract painting and sculpture for as long as I can remember. The new paintings here in Beaumont are formal and they are focused in an extended investigation of a small number of variables and relationships. I am interested in making relatively small moves, where in the past I felt compelled to make significant shifts, large conceptual declarations, from piece to piece."
Link to Post:
http://www.artcritical.com/2013/04/13/greg-goldberg/
Mary Negro visits the studio of painter Greg Goldberg on the occasion of the exhibition Greg Goldberg: Northern Light at Stephan Stoyanov Gallery, New York, on view April 17 - May 31, 2013.
Negro begins: "There is a welcoming demeanor to Greg Goldberg’s bright, airy Manhattan studio that compliments his own as he places canvas after canvas on the wall and explains his process. He observes how color changes with different light throughout the day. The linen texture of his square oil paintings gives each piece a natural grid structure as he slowly builds the compositional architecture of each work. Combining loose, geometric blocks with sweeping, gestural brush strokes, the dynamic and free form shapes are applied with a veiled precision. This apparent ease actually emerges from intense deliberation about what colors should be placed next to another, and how the moods of different parings harmonize or develop tension."
