Fritz Chesnut: In Conversation

Link to post:
http://www.nyartsmagazine.com/conversations/in-conversation-michael-shaw-interviews-fritz-chestnut

Aug 1

Fritz Chesnut, The Crystal Ship, 2010, acrylic on canvas, 60 x 48 inches (courtesy of the artist)

Michael Shaw interviews artist Fritz Chestnut.

Chesnut remarks: "I hope to make something vulnerable in that I am accountable for it, putting it out there and backing it up. Painting for me is a super risky thing and sometimes it comes easily. Other times I have a hard time turning off my mind and am prone to some challenging moments in the studio where I am completely blocked creatively. If I am not in the zone and have too much chatter going on in my mind it is hard to get to that place where I am ok making mistakes. In my experience you need to make tons and tons of mistakes before making anything successful."

via:

NY Arts

Kadar Brock: In Conversation

Link to Post:

http://www.nyartsmagazine.com/?p=8515

Matt Jones interviews painter Kadar Brock about his work and practice.

Brock comments: "I don't think about the body in a direct or traditional sense, but... they are very physical paintings. I make them laying on top of them, pushing into them, scraping away at them, sanding them and so on. And I touch them, a lot. I think a lot about paintings as hugs, as points of empathy. This probably sounds very sappy, but it ties into... a sense of reassurance almost, that I hope to give a viewer with the work. And that's a very physical sensation."

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NY Arts

Tom McGrath: Night Vision

Link to Post:

http://bombsite.com/articles/6677

Painters Greg Lindquist and Tom McGrath discuss their approaches to landscape painting and its place in a world dominated by technology.

Responding to Lindquist's question about how his paintings relate to photography and technology, McGrath remarks: "Technology is everything. Photo-wise, it's the old cliche about Impressionism as the secret child of photo, and Pointillism being the forerunner of process color in printing: Sigmar Polke's dots, Bridget Riley's psy-ops, camouflage, the pixel, inkjets and spray paint. These paintings catch light, maybe freeze movement - I hope. The silhouettes, for instance refer to the look of a photogram, a kind of filmic mood lighting."

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