Link to Post:
http://www.gorkysgranddaughter.com/2012/08/chuck-webster-august-2012.html
Zachary Keeting and Christopher Joy visit the studio of painter Chuck Webster.
Webster's work will be on view at Steven Zevitas Gallery, Boston from September 6 - October 13, 2012.
In 2011 Carol Diehl wrote of Webster's work: "At first glance, the quirky, cartoonlike quality of Webster's semiabstractions may seem more trendy than profound. With a little scrutiny, however, this impression is mitigated by the ambiguity of the subject matter—which, like all good abstraction, seems to be filled with meaning while actually signifying no specific thing. Points of reference are also ambiguous: often biomorphic, other times jagged, these emblematic symbols could just as easily be co-opted from early tribal paintings as could represent signals channeled from a simpler, postapocalyptic future."
Link to Post:
http://www.art21.org/newyorkcloseup/films/close-encounters-with-josephine-halvorson/
Video interview with painter Josephine Halvorson.
Halvorson discusses her process of working on location in a single session. She notes: "I can feel with my brushstrokes what it's like to be that surface or that object. So say it's steel, when I make that color and I paint it down, it feels like steel when it is becoming the thing, when there's a sythesis between my painting and the object and myself. When we're all the same thing at the same moment. That is the closest I can get to that object."
Halvorson's paintings were recently on view in the exhibition What Looks Back at Sikkema Jenkins & Co., New York.
Submitted by Brett Baker on August 16, 2012
Never Let the Screen Door Slam is a video interview and studio visit with painter Frederick Hammersley (1919-2009), directed by Vanessa H. Smith. Hammersley's work was most recently on view at LA Louver.
Hammersley discusses his general thoughts on painting as well as the specifics and development of his practice, including what he calls painting by "hunch" or intuition: "You put down a shape and they just lie there, and then you make a movement and it comes alive. I've never quite understood that, but it's marvelous. The shapes have attitudes and the painting just clicks."
Submitted by Brett Baker on August 15, 2012
One in a video series posted by Betty Cuningham Gallery, painter Judy Glantzman discusses her work and her idea of art.
Glantzman notes her interest in "the combination of a kind of a contrivance and a kind of truth - truth and contrivance simultaneously - that's what I think of as art… when I mean true, it's that I am not conscious of what my painting is going to look like, I'm more engaging in a relationship…" She continues: "I came from a kind of self-portrait orientation… the more I'm in it the truer it is and the more I'm in it the less it is about me… There's two things going on. One of them is the sort of desire to reveal myself to myself, and therefore if that's honest then other people respond. The other part of it is, it's inseparable from the building of something, it's a visual language..."
Link to Post:
http://beautifuldecay.com/2012/08/14/documentary-watch-allison-schulnik-studio-visit/
Video interview and studio visit with painter/animator/sculptor Allison Schulnik.
Schulnik discusses her work and the interplay between different disciplines: "I keep a lot of objects and the figurines and the taxidermy in the studio just because it inspires me in the work. I see them and they're awesome and I love them, so I get them and then I paint them. Painting is… an immediate… satisfaction, or dissatisfaction, but animation takes a long time… and they always inform the other: the painting informs the animation and the animation informs the sculpture and sculpture informs the painting."
The exhibition Allison Schulnik: Salty Air was recently on view at Mark Moore Gallery, Culver City, CA.
Link to Post:
http://bombsite.com/articles/6728
Richard J. Goldstein looks at the recent work of Stephen Posen which merges painting and photography.
Goldstein writes: "Access and memory are two words that come to mind when viewing Posen’s work. His initial question of communication in turn became one of recognition. How does the viewer comprehend recognizable space through added layers of concealment? This comprehension is all about access to the recognizable ground which, when visually obstructed, relies upon memory and intuition to complete the picture... Through the years, the strategies may have changed but the game is still the same for Posen: how one accesses meaning in the languages of paint and photography via memory."
Link to Post:
http://youtu.be/a1AntEoZ7S4
Painter Mike Cockrill discusses his new work with James Kalm.
Kalm notes that "After nearly forty years of working as a figurative painter, with a background of training at the Pennsylvania Academy of Art, and battling notions of aesthetic good taste with his own weird version of 'bad painting,' the unexpected has happened. Cockrill has begun a series of semi abstract works. Declaring 'I was tired and sick of my own work' the artist begins painting and thinking about classic Modernism, and how he could use it" to move his work in new directions.
Link to Post:
http://www.gorkysgranddaughter.com/2012/08/franklin-evans-july-2012.html
Christopher Joy and Zachary Keeting visit the studio of Franklin Evans. Evans discusses multiple elements of his art practice including abstract painting, trompe l'oeil, collage, and installation, and sound works. The video includes a sample of one of Evans' sound pieces playing while the camera pans the studio.
Evans' exhibition eyesontheedge was recently on view at Sue Scott Gallery.
Link to Post:
http://artinfo.com/news/story/811487/video-swiss-painter-caro-niederer-on-her-bold-new-york-solo-debut-at-hauser-wirth
Tom Chen blogs about the work of Swiss painter Caro Niederer now on view at Hauser & Wirth, New York through July 27, 2012.
Chen writes that Niederer's recent work focuses on "everyday subjects, like a kitchen table with a vase of flowers, a street in front of her home, or the basketball court where her kids play. Standing out against the vibrant color palette prevalent in most of her paintings are two sepia-toned 'Brown Paintings.' Like blown-up old time photographs, the paintings exude a warm and gentle light that guides us through what the artist calls 'common subjects.' "
The post includes a video interview with Niederer where she discusses her recent paintings.
Link to Post:
http://marceartvlog.blogspot.com/2012/06/todd-chilton-and-alan-wiener-at-feature.html
A video walk-through of the exhibition Todd Chilton: Steady at Feature, Inc., New York, on view through June 30, 2012.
Of his paintings Chilton writes: "The paintings exhibit imperfections that are a result of handmade patterns and geometry. This often heightens optical effects in the patterns, and serves to create a situation in which the viewer becomes aware of the experience of looking. I want to create images that convey at once a sense of ambiguity, purposefulness, and humor. At times they have a sense of openness on one hand and resistance on the other. I am interested in what happens in the middle."
