Perception

Larry Groff at Prince Street Gallery

In Larry Groff’s recent paintings, visions of contemporary reality give way to surprising optimism.

John Mitchell interviews painter Stephanie Pierce whose exhibition Signal is on view at Steven Harvey Fine Art Projects, New York through March 4, 2018. Pierce comments: “My work is made by observing things in my immediate surroundings over long periods of time. After the surface is ready, I start looking everywhere for a way in, asking everything […]

Bridget Riley: Our Instinct Enhanced

Christchurch Art Gallery

Richard Schiff writes on the paintings of Bridget Riley on the occasion of Bridget Riley: Cosmos on view at the Christchurch Gallery, New Zealand through November 17, 2017. Schiff observes: “Riley grants that the ‘role of art’ changes. Yet this social and historical role is merely an aspect of the art that an artist creates. […]

Ruth Miller & Andrew Forge

Art New England

Cat Balco reviews works by Ruth Miller and Andrew Forge at the Washington Art Association, Washington Depot, CT, on view through August 5, 2017. Balco writes: “Like Cézanne, Miller and Forge are not interested in description, but rather revelation: of something ineffable that can only be seen through engagement with the observed world. ‘You want […]

Notes on Euan Uglow

Powers of Observation

Chris Bennett recalls his studies with Euan Uglow. Bennet writes: “[Uglow] was not interested in ‘painting something out of the corner of the eye’ but wanted to ‘attack’ it head on. Everything was to be looked at directly and ‘in focus’; he wasn’t interested in painting the sensation of a glance for example. He would […]

Ying Li: Interview

Painting Perceptions

Larry Groff interviews painter Ying Li on the occasion of her exhibition Geographies at Haverford College, on view through October 7, 2016. Li comments: “I think these two are really one thing; they’re so tied together, looking out and then looking in on the canvas. I try to make that switch as short as possible […]

Craig Manister: Painting the Rhythm of Perception

A reverence for both paint and subject runs throughout Manister’s work, connecting his earlier abstract narratives and his more recent group of sensitively observed still lives.

Certain Densities in Perceptual Painting

Matthew Ballou argues that “a perceptual approach to painting is not synonymous with rote observation.”