On Painting @ Kent Fine Art
Patrick Neal reviews On Painting at Kent Fine Art, New York, on view through July 29, 2016. Neal writes: “How to make sense of a show of painterly, figurative art in 2016 is part of the fun when taking in On Painting… Many figurative painters are engaged in what the critic Roberta Smith has referred to […]
The Congeries of Dennis Congdon
Mary Bergstein writes about the paintings of Dennis Congdon. Bergstein observes “The mature Congdon’s painterly preoccupations are apparent in enchanting images, congeries of ruins and regrets. Each of these large paintings is an excavation site of sorts, archaeological and psychoanalytic, where the art-historical archive bubbles up from the realm of the unconscious through the painter’s […]
André Masson’s Automatic Drawings
Hyperallergic
Joseph Nechvatal reviews André Masson dans l’antre de la métamorphose at Galerie Natalie Seroussi, Paris, on view through July 31, 2016. Nechvatal writes: “An expanded field of subjects pervades the visual lexicon of Surrealism, but Masson is generally considered to have pioneered the automatic drawing technique with an opulence that borders on the decadent. Masson’s […]
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Audrey Flack on de Kooning’s Women
Painter Audrey Flack reflects on de Kooning’s Women paintings. Flack concludes: “What de Kooning was able to do as a great artist was bring to life those profound disparate emotions by painting women with disjointed body parts using moist, thick oil paint and making rapid marks that are intriguing and compelling. Over the years I […]
Turner’s Whaling Pictures @ The Met
Mario Naves reviews Turner’s Whaling Pictures at The Metropolitan Museum of Art, New York, on view through August 6, 2016. Naves asks: “Has there been an artist who called into question the material properties of his art with as much ferocity and concentration? The four canvases included in ‘Turner’s Whaling Pictures’, as well as the […]
Nicole Eisenman’s Allegorical Possibilities
Stephen Maine reviews two recent exhibitions: Nicole Eisenman: Al-ugh-gories at the New Museum and Nicole Eisenman: Magnificent Delusion at Anton Kern Gallery. Maine begins: “One of the intriguing things about Eisenman’s paintings is that their anecdotal specificity opens up the interpretive possibilities, rather than delimiting them. Whether we’re looking at a portrait of a single subject […]
Robert Bordo: Interview
Seth Cameron interviews Robert Bordo whose work was recently on view at Bortolami, New York. Bordo comments: “the material part of my imagination is always in need of a trigger, a signifier, a poetic, or a joke. I can’t just make paintings simply using the technical vocabulary that I’ve found over time because doing so […]
Fully Fathoming Louise Fishman
Rebecca Allan reviews two exhibitions of work by Louise Fishman: A Retrospective at the Neuberger Museum of Art (through July 31) and Paper Louise Tiny Fishman Rock at the Institute of Contemporary Art, Philadelphia (through August 14). Allan writes: “At the top of her game, Louise Fishman translates aural, physical, and visual experiences into radiant and muscular works […]
Sam Gilliam @ David Kordansky
Seph Rodney blogs about Sam Gilliam: Green April at David Kordansky Gallery, Los Angeles, on view through July 16, 2016. Rodney writes: “Each painting of Gilliam’s is like a tidal occurrence, something naturally wafting to the shore of your vision and out again, but never quite still, never settled. I want to say the work […]
Pam Glick @ White Columns
Zachary Keeting and Christopher Joy interview painter Pam Glick at her exhibition at White Columns, New York, on view through July 16, 2016. The gallery press describes Glick’s paintings as “typically made with oil and enamel paint – that together might be understood as psychologically-charged landscapes. In her work, Glick often returns to, or perhaps […]
Clarity Haynes on Domenico Ghirlandaio
Clarity Haynes writes about Domenico Ghirlandaio’s An Old Man and his Grandson (c. 1490) in the Louvre, Paris. Haynes observes: “Barthes describes the punctum as the rupture, the piercing; in this case the unexpected detail that mars the classical, standard and predictable, giving the picture its humanity. The studium is the expected, the archetypal, the […]
Jennifer Coates & EJ Hauser
Jennifer Coates in conversation with fellow painter EJ Hauser on the occasion of Coates’ exhibtion Carb Load at the Pennsylvania Academy of Fine Arts (PAFA), on view through July 17, 2016. Coates remarks: “In every painting there’s a moment where the materiality of the paint asserts itself and becomes a sort of magical experience where […]
Ridley Howard: Interview
Jennifer Samet interviews painter Ridley Howard whose works are included in Intimisms at James Cohan Gallery, New York, on view through July 29, 2016. Howard comments: “I love playing formal games in the work, but I want the figurative elements and the formal elements to inform one another. I hope it all adds up to […]
Linda Carey: Italy in Mind
Diane Drescher blogs about Linda Carey: Recent Paintings: Italy in Mind at Bowery Gallery, New York, on view through July 9, 2016. Drescher writes: “Carey says the reproduction quality of the photograph (of the work of art), cast shadows, overlapping objects, and the painter’s ever-changing perceptions modify the images and put them in a context […]
Ann Gale: Interview
Antrese Wood interviews painter Ann Gale. Gale comments that in her early work “I started to realize that when I looked at the paintings I was only looking at … what is the figure doing and the literalness of the image. But what I was really looking for was something else, was the experience of […]
Women of Abstract Expressionism
Patricia Failing reviews Women of Abstract Expressionism at the Denver Art Museum, on view through September 25, 2016. Failing writes: For [curator Gwen] Chanzit, expressionistic gesture painting represents the ‘heart’ of Abstract Expressionism… With very few exceptions, the confident, exuberant, high-keyed painterly abstractions in the Denver exhibition not only conform to the ideals and visual […]
Celia Reisman: Interview
Antrese Wood interviews painter Celia Reisman. Reisman notes the importance of drawing to her work and comments about how, when sketching and drawing, you “allow yourself to respond to what your looking at in terms of seeing. I find myself in front of the subject and I edit as I go … it’s like a […]
T.J. Clark on Poussin
Jim Cuno inteviews art historian T.J. Clark about his experiences viewing paintings by Nicolas Poussin. Clark documented his time looking at Poussin in the 2006 book The Sight of Death: An Experiment in Art Writing. Clark remarks: “You look at a complex object like this, and you begin to ask, hm, what is actually being […]
Stuart Davis @ the Whitney
Karen Wilkin reviews Stuart Davis: In Full Swing at the Whitney Museum of American Art, New York, on view through September 25, 2016. Wilkin writes: "Strangely, the catalog essays ignore the importance of drawing to Davis’s repetitions, but the paintings with recycled motifs, which he likened to his beloved jazz musicians’ fluid improvisations on familiar […]