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://leftbankartblog.blogspot.com/2012/07/the-color-picture-now-feeling-foremost.html
Carl Belz considers "color as a vehicle of emotional content" in the work of three painters: Ronnie Landfield, Sandi Slone, and Darryl Hughto.
Belz writes that "each [artist] has now been painting for more than four decades, and each has in the process periodically made ambitiously large pictures, as well as pictures that are frankly and unapologetically beautiful, candid in celebrating color as a vehicle of emotional content, intuitively smart in structuring its deployment to assure the content's credibility. Regularly inspired by their modernist past, yet at the same time unburdened by it, each has also looked periodically to nature, not in opposition to abstraction, which was the charge presented against painting nature in the 1950s, but as a resource for enriching it."
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://artcritical.com/2011/11/05/ronnie-landfield-replies/
Painter Ronnie Landfield responds in print to recent criticism of the hard edge areas of color that appear at the bottom of each of his paintings.
Landfield discusses the origin, formal, and meaning of these color bars in functional, art historical, and political terms.
Link to Post:
http://www.haberarts.com/2011/10/generations-of-color/
John Haber reviews two exhibitions: Ronnie Landfield: Structure and Color at Stephen Haller Gallery (through October 15, 2011) and Carrie Moyer: Canonical (through October 16, 2011) at CANADA.
Haber writes: "Both [artists] work in acrylic and let it flow, big time. One can contemplate its color and other pleasures, or one can dive in to look for representation. With Moyer that means women and other creatures, with Ronnie Landfield landscape. Neither rests on irony, and yet both are looking back. Only looking back gets trickier all the time."
Link to Post:
http://mattbeallart.blogspot.com/2010/12/ronnie-landfield.html
Painter Matthew Beall posts a video about painter Ronnie Landfield. Landfield, interviewed in his studio speaks about his work, the experience of abstraction, and motivation.
