[VIDEO] Clyfford Still: A Life in Paintings featuring painter Bill Jensen discussing his own discovery of Clyfford Still’s work. Produced and directed by A bark K Productions and the Milkhaus
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."
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."
James Kalm visits the exhibition James Biederman: Don't Have Red in Sight at Janet Kurnatowski Gallery, Brooklyn, New York, on view through May 26, 2013.
Kalm comments: "Using intimately scaled shaped canvases, and reduced painterly incident, [Biederman's] new work balances ideas of painting and object making that reference masters like Elizabeth Murray and Ellsworth Kelly." The video includes a conversation with James Biederman about the paintings in the show and his shift from gestural abstraction to shaped paintings.
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.
In a new video curator Asher Edelman and author Charles Riley discuss the career of New York School painter Fritz Bultman. Fritz Bultman: The Missing Irascible is on view at Edelman Arts, New York, through May 11, 2013.
The video features close-ups of Bultman's paintings as well as a video walk-through of the exhibition. Riley notes that Bultman's term for what he was trying to achieve "was 'fullness.' He felt that most of the history of painting was some kind of recession from the surface backwards. Hofmann and Bultman were trying to fill the surface so that there was no further recession."
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… "
In a new video, painter Anne Harris discusses her approach to painting and the works in her current exhibition Phantasmatical: Self Portraits at Alexandre Gallery, New York, on view through May 11, 2013.
Harris remarks: "These paintings, these particular paintings, came out of both something that was happening in the drawing that I worked on, and also something that I was experiencing. The experience of going from being a child and I think being oblivious, to being watched. But also you get older, you're not as ripe, you're not looked at. I thought it would be interesting to try and paint somehow that experience of both you're really exposed but you're not looked at." She continues: "These are paintings. I'm a starting point, but all the complexity that I have about my feelings about myself and how I interact with the world - I hope that's in the painting."
James Kalm video blogs a visit to the recent exhibition Ben La Rocco: Fugue State at Janet Kurnatowski Gallery, Brooklyn.
Kalm writes that "La Rocco directs his painterly investigation into a realm of physics and astronomy as graphic representations. Transcribing concepts like the relationship between the scale of humanity and planetary bodies like the sun, these paintings evoke a poetic interpretation of mans relation to the cosmos. Working on a horizontal format of wooden planks, many of these pieces read like a symbolic diagram of human versus astronomical perceptions spread on a horizontal plane." La Rocco also discussed the exhibition in a recent interview with Thomas Micchelli.
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:
