Link to Post:
http://www.pirihalasz.com/blog.htm?post=884652
Piri Halasz writes about several current and recent painting exhibitions on view in Manhattan that together provide a sweeping view of abstraction over the last 70 years. The shows include: Conceptual Abstraction at Hunter College's Times Square Gallery, Helen Frankenthaler, Morris Louis, Kenneth Noland and Frank Stella at Mitchell-Innes & Nash (through November 24), Hans Hofmann: Works on Paper from the 1940s at the New York Studio School, curated by Karen Wilkin (through January 5), and Ronnie Landfield: Where It All Began at the Kenny Gallery, High School of Art & Design.
Link to Post:
http://duochromefilms.blogspot.com/
Jeffrey Collins posts video conversations with painters Ronnie Landfield, Michael Brennan, Ruth Ann Fredenthal, and John Zinsser as part of his on-going documentary project, "a 21st century version of the legendary 1972 film Painters Painting by Emile De Antonio."
Discussing the documentary in a recent article in NYArts Magazine Collins noted: "I began with a person whom I already knew: Joseph Marioni, a painter perpetuating the High Modernist tradition of his predecessors. Once I talked with him, I came away with many ideas that multiplied. Though De Antonio was already well acquainted with his group of participants, I would be learning about mine for the first time while filming, which is an experience I have come to enjoy. There's nothing like sitting with someone and hearing the story of his or her life firsthand."
Link to Post:
http://leftbankartblog.blogspot.com/2012/03/in-and-around-monochrome.html
Carl Belz curates an online exhibition of recent monochrome paintings by John Zinsser, Daniel Levine, Karen Baumeister, Jeffrey Collins, and Matt McClune.
In his introduction Belz writes: "Monochrome spawned no school or movement following its appearance in the early 1960s, but it has nonetheless remained a presence in the art of our time, its directness and simplicity periodically offering respite within a culture drenched increasingly by spectacle, while at the same time demonstrating anew abstraction’s capacity to secure meaning, even when self-imposed limits seemingly reduce its options to degree zero. In varying measures, its appeal has all along been visual and conceptual, a matter of body and mind together accounting for its integrity as art."
