Link to Post:
http://youtu.be/KccN7UP3sIU
James Kalm visits the exhibition Rainer Gross: Contact Paintings - Logos and Toons at Margaret Thatcher Projects, New York, on view through March 23, 2013.
Kalm notes: "With 'Logos and Toons' the artist dissects images that relate to his earliest ventures into the art world, with technical innovations he's been exploring to the present day. Acheiving a surface that resembles flaking plaster walls, with rich pure pigment color, Gross crops and reverses quotidian images to reveal abstract shapes and forms that are at once familiar and foreign. Rainer Gross gives an in-depth interview discussing his process and relationship with Larry Rivers."
Link to Post:
http://hyperallergic.com/59694/wayne-thiebaud-and-the-limits-of-gluttony/
John Yau reflects on the work and legacy of painter Wayne Thiebaud on the occasion of the exhibition Wayne Thiebaud: A Retrospective at Acquavella Galleries, New York, on view through November 30, 2012.
Yau writes: "At a point when everybody was squeezing space out of paintings, Thiebaud was putting it back in, while establishing a tension between surface and depth. The reason is that Thiebaud wants the viewer to be aware of his or her own body, and he recognizes that this is something that Pollock lost when he made his groundbreaking paintings. For all their materiality, Pollock’s allover paintings make it difficult for the viewer to orient his or her body to the painting — they take the ground we are standing on away. I suspect this is one reason why Thiebaud has never gained the favor of MoMA. He challenges their narrative, which claims this was the goal of painting."
Link to Post:
http://artobserved.com/2012/10/new-york-james-rosenquist-multiverse-you-are-i-am-at-acquavella-galleries-through-october-13th-2012/
M. Steward blogs about the exhibition James Rosenquist: Multiverse You Are, I Am at Acquavella Galleries, New York, on view through October 13, 2012.
Steward posts: "Rosenquist has long been recognized for incorporating fragmented pictoral images in his paintings, yet in his most recent works, abstractions, patterns, and astronomical motifs play heavily. This is no coincidence, as the artist, who grew up in Depression-era North Dakota, spent much of his childhood gazing at the Northern Lights, star showers, and solar winds of the Great Plains. The brush fire, inciting an existential quandary, left Rosenquist reflective, questioning his relation to the world, reality, and the perceptual, as well as the passage of time."
Link to Post:
http://thepaintedwrd.wordpress.com/2012/08/08/michael-bevilacuqua-at-gering-lopez-gallery/
Review of the exhibition Michael Bevilacqua: An Ideal For Living at Gering & López Gallery, New York, on view through August 24, 2012.
"The tension between [the] two readings of linear narrative and archaeological accretion is what makes the 'spatiality' in Bevilacqua's painting at least potentially 'eerie': unsettling yet intriguing, and suggestive that something might happen next. This prospect of development suggests that Bevilacqua might be attempting to reexamine the term 'post-Pop' and his place within it... if we consider Rauschenberg's work as a kind of 'pre-Pop,' Bevilacqua's status as a post-Pop artist transforms from a consecutive distinction into a wider-spanning historical one, wherein the style not only follows Pop, but also intimates something beyond it.
Link to Post:
http://www.moma.org/explore/inside_out/2012/02/14/f-111-1965/
Cara Manes blogs a history of James Rosenquist's monumental painting F-111 that was recently re-installed a the Museum of Modern Art, New York. The painting will remain on view through July 30, 2012.
Manes notes that "The subject, the F-111 fighter-bomber plane, was in development at the time as part of a military initiative that ended up costing $75 million; funded by American tax dollars, it was meant to be the most technologically advanced weapon in the U.S. Air Force's arsenal. Rosenquist painted the body of the plane to span the work's 23 panels, interspersed with spliced-in images of commercial products and references to war—fragments of what he has called 'the flak of consumer society.' Through this expanse of colliding visual motifs, F-111 points to what the artist has described as 'the collusion between the Vietnam death machine, consumerism, the media, and advertising.' "
Link to Post:
http://marceartvlog.blogspot.com/2012/01/joyce-pensato-at-friedrich-petzel-nyc.html
Video walkthrough of the exhibition Joyce Pensato: Batman Returns at Friedrich Petzel Gallery, New York, on view through February 25, 2012.
The gallery notes that "Pensato's resurrection of this iconic image [Batman] sixteen years later marks an additional shift in her practice as it will be the first time that she has added various colors to what until now has been a strictly black, white and silver painting palette. Pastel color has played a role in Pensato’s drawings over the years, but color in the paintings is new, and as with her drawings, the color element marks a layer within, simultaneously erased and darkened by the profuse and continual saturation of black and white enamel."
Link to Post:
http://paulcorio.blogspot.com/2011/12/paintings-i-like-pt-72.html
As part of his series entitled "Paintings I Like," Paul Corio is struck by two paintings at the Guggenheim Museum: The Swimmer in the Econo-mist (Painting 2) (1997) by James Rosenquist and Surface Veil II, (1970) by Robert Ryman.
Corio writes that " ...for all his bright colors and big size, [Rosenquist] brought a slyness and subtlty that I just don't find in Brillo boxes and comic book panels... [Ryman's painting has] an exquisitely subtle framing element that gives it just enough structure and wholeness - it feels expansive and expanding, but at the same time complete within its boundaries."
Link to Post:
http://thesilo.raphaelrubinstein.com/artists/adami
Raphael Rubinstein blogs about under-known painter Valerio Adami. Rubinstein writes: "[Adami's] distinctive use of flat color, which he has been employing since the mid-1960s, brilliantly marries the color printing of Hergé's Tintin books and medieval stained-glass; the stylized eroticism of his sinuous line and his eye for the fetish object is every bit as seductive as John Wesley's, and often much grittier..."
