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Bontecou and "The Void"

March 20, 2013, 5:00 am
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Lee Bontecou again gets her due at the MCA Chicago. You might remember the outstanding survey of her work presented in 2004 when the art world was astoundingly reintroduced to the reclusive Bontecou's genius.  She's the star of their new show Destroy the Picture: Painting the Void 1949-1962.  Politics and painting were working hand in hand at this point. Artists responded to the destruction of World War II by embedding modes of destruction, fire, bullets and razor blades to rip, cut and tear in their studio practice. Robin Dluzen reviews the show for Art Fag City as does Kyle Macmillan for the Chicago Sun-Times

Lee Bontecou, Untitled, 1959. The Museum of Modern Art, New York, gift of Mr. and Mrs. Arnold H. Maremont, 1960.  

Yves Klein
Untitled Fire Painting (F 27 I), 1961
Burnt cardboard
98 7/16 x 51 3/16 in. (250 x 130 cm)

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Adrian Ghenie, gesture, desire and painting

March 21, 2013, 5:00 am
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Adrian Ghenie has a new show of paintings at Pace Gallery.  In an interview with Alex Gartenfeld, Gehnie spoke about his last show at Haunch of Venison, London
The canvases were inspired by the Nazi’s ideological bastardization of Charles Darwin’s theories of natural selection. “No discovery is ever good or bad—it depends on how you use it,” says Ghenie, although his portraits frequently feel cautionary and almost malicious in their gestural violence.
Here's another interview with Stephen Riolo for Art in America, Ghenie talks about making a blockbuster show and painting to resolve human desire....






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Katrin Bremermann - Be good to me

March 22, 2013, 5:00 am
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Thanks to Look and Listen for bringing Katrin Bremermann to my attention

Be good to me - 2012 - Bois, toile et huile - env. 42 x 30 x 15 cm


Vue 1, Expo Granville Gallery - 2011 - exposition Granville gallery


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Good and Bad Painting, Neil Jenney

March 23, 2013, 5:00 am
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Neil Jenney is profiled by Daphne Merken for the NY Times.  Known for his independent spirit and comfort in managing his own career out of his Soho studio, his current jump to Gagosian should be interesting.

North America Divided

North America Depicted (Canadian #2)

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Ain't Painting a Pain? Richard Jackson

March 24, 2013, 5:00 am
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Sharon Butler has a great post on Two Coats of Paint about Richard Jackson's retrospective at the Orange County Museum.

In the LA Times, Christopher Knight tries to recount all the ways Jackson uses paint. "Thick, brightly colored paint oozes like mortar from between thousands of canvases stacked like bricks into a kind of room-size temple, and it's smeared in rainbows that unfurl across white walls. It's shot from a pellet gun at a big drawing and out of the rear ends of carousel animals toward spinning canvases and sculptures on surrounding walls. Paint is pumped through neon tubing that spells out the show's title, clogging illumination, and into a bathtub copied from one where a hero of the French Revolution was ignominiously murdered. It has dripped from glass models of human heads, oozed from squashed metal models of a ballerina and spewed from a hose wielded by a sculpture of a reclining nude glimpsed, voyeur-like, through the crack in a barely opened window. It puddles on pedestals and the floor....This is the only museum exhibition I've seen that posts a sign at the entry warning visitors not to touch the art for the specific reason that the paint might not be dry." 

Richard Jackson, Painting with Two Balls, 1997, Ford Pinto, metal, wood, canvas, acrylic paint, 20 x 36 x 20 feet

Richard Jackson, Reconstruction of Untitled (Maze for Eugenia Butler Gallery, Los Angeles), 2013, oil and pencil on paper, 108 x 240 x 240 inches. Collection of Alison Terbell Nikitopoulos and Dimitris E. Nikitopoulos. Installation at Orange County Museum of Art.

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Feelings are weighty, Amanda Friedman

March 25, 2013, 5:00 am
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Michael Rutherford posted on Painter's Bread an interview with Amanda Friedman where they talk about why painting, linear time and artistic influences.

This is from Friedman's recent show at Eli Ping
Feelings are weighty, textured; they hang in the atmosphere. They knit together a sympathy upholding daily life.
Amanda Friedman, Installation view at Eli Ping

Thought Form: Good Luck 2
2012 oil, acrylic and gesso on paper 56 x67 x 2

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the best painting ever, Josephine Halvorson

March 26, 2013, 5:00 am
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painting always interested me, Nick Oberthaler

March 27, 2013, 5:00 am
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Nick Oberthaler was interviewed by Joanna Fiduccia for Flash Art Online  in 2008. His new show
No Structured Narrativeis at  Galerie Emanuel Layr

Nick Oberthaler 
No Structured Narrative, 2010
wax crayon, Indian ink on paper, 
160 x 110 cm

No Structured Narrative, 2010
Wax, ink and gouache on paper, 
161 x 118 cm

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Paul Anthony Smith's Picotage

March 28, 2013, 5:00 am
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Paul Anthony Smith's Pictotages at ZieherSmith are photographs that have essentially been picked apart. Using a ceramic tool, Smith flicks up small pieces of the image exposing the white of the paper to form masks over his figures. The paper remains attached to the surface (see the detail) and creates a jewel like texture to the mask.

Funeral #2, 2013, Picotage on Unique Pigment Print



detail




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Suzan Frecon - beginning with color

March 29, 2013, 5:00 am
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Frecon's show at Zwirner warranted more time than I was able to give it last week. These small sweet paintings don't do so well online though. I especially liked the works on paper, the irregularity of the surface, the buckling of the paper the subtle changes of color, especially in the dark blues, all get lost in my monitor. Here's Frecon's interview with John Yau for the Brooklyn Rail.

I would love to begin with color. That’s where my paintings usually begin, with an idea of color, and red is a long and integral part of them. 
cathedral series, variation 6
2010
Oil on linen
2 panels. Overall: 108 x 87 3/8 inches
Watercolor on stressed old Indian ledger paper

cathedral series, variation 5 (closer)
2009
Oil on linen
2 panels
Overall: 108 x 87 3/8 x 1 1/2 inches
274.3 x 221.9 x 3.8 cm
Each panel: 54 x 87 3/8 x 1 1/2 inches
137.2 x 221.9 x 3.8 cm



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Victor Man and the possibility of images

March 30, 2013, 5:00 am
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I usually use images which are in the media because of a certain specific significance. Emptying them means that I do not choose them for their worth but because of their representative potential as images, in order to construct a new content with them. If you like, it is like a puzzle in which each work that arrives into the play (installation) reformulates itself and the whole context, creating a sort of terrain of turbulence, where truth becomes a matter of clues. The context bestows meaning and gives new possibilities for the image to be read in a very different way to the way it was read initially. There is a sort of nihilism in that: working against the image and taking away the significance of it means that nothing has a mark or position in the system anymore. 
excerpt from an Interview with Victor Man by Gianni Romano for Contemporary Magazines

The images below are from Man's show at Barbara Gladstone in Brussels

Untitled, 2011 Oil on canvas; 19 1/5 x 15 1/2 inches



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What qualifies as a painting? Giorgio Griffa

March 31, 2013, 5:00 am
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Check out Brian Fee's post on Giorgio Griffa's show at Casey Caplan.  Roberta Smith reviewed the show for the NY Times in February
Like many younger artists, Mr. Griffa seems to test how little it takes for something to qualify as a painting. For decades he has used raw unstretched canvas of different textures and tones in a way that emphasizes portability. The paintings are simply folded up when not on view, which invariably makes the grid of fold lines part of the motif. To these surfaces he applies unruled lines and strokes that sometimes accumulate into shapes but often simply repeat for a while and then stop — as if in midsentence.
Giorgio Griffa | Segni orizzontali, 1975, Acrylic on canvas, 57.5 x 74 inches, Image courtesy of the artist and Casey Kaplan, NY, Photo: Jean Vong


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Yawar Mallku, William Cordova's new show

April 1, 2013, 5:00 am
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William Cordova's show Yawar Mallku: Temporal Landscapes at Sikkema Jenkins has a room filled will sculptures and projected images but I was drawn, no surprise, to these little gems on file folders and reclaimed paper.

According to the gallery press release
The work temporal landscapes (pa’ y.mishima, e.danticat y t.martin) is influenced by the Land Art movement of the 1960s and early 1970s. It references Land Art’s resistance to the logic of consumerist art and the interest in reconnecting to ancient geometric principals and the pragmatic use of materials.





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Chamberlains interstitial spaces

April 2, 2013, 5:00 am
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Rebecca Chamberlain's work at Dodge was a gift. They look like photographs of beautiful modernist architectural settings. They are paintings with lithographic ink on vintage tracing cloth, the effect is mesmerizing. Chamberlain works from reproductions of 20th century interiors, stairways and hallways that are all vaguely familiar,  Art in America reviewed her last show at Dodge
the artist's painted reinterpretations of interiors seem to become the stage for a scene yet to be played out-not one having already occurred.

Rebecca Chamberlain, Her View. Car Park Arrangement Screen, Zimmerman House, Wright, 1950, 2013, litho ink on vintage tracing cloth, 27 x 78 inches, framed.
detail


Rebecca Chamberlain, Cast Window Views: Guest Bedroom Arrangement, Zimmerman House, Wright, 1950, 2013, litho ink on muslin with wooden frame after FLW cement cast windows, 15 x 15 x 2.5 inches. Photo: Anna Schori

 Rebecca Chamberlain, Anonymous & Loos, Stair Screen, 1928-?, 2011, litho ink on vintage tracing cloth, 53.5 x 70 inches



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William O'Brien's drawing experiments

April 3, 2013, 5:00 am
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All the way in the back of William O'Brien's show at Marianne Boesky was a great group of works on paper.


Untitled, 2012
Mixed media on paper
11 7/8 x 9 3/4 inches 30.2 x 24.8 cm

Untitled, 2012
Mixed media on paper
11 7/8 x 9 3/4 inches 30.2 x 24.8 cm

Untitled, 2012
Mixed media on paper
11 7/8 x 9 3/4 inches 30.2 x 24.8 cm





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Leslie Wayne - Artist Interview

April 4, 2013, 5:00 am
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Leslie Wayne came down to visit University of Florida a couple of years ago in conjunction with an exhibition. I fell in love with her gooey, dense and peeled paintings. Julia Schwartz of Figure/Ground interviews Wayne about her artistic training, her painting and her mentors.
 I was certainly aware that the curls and folds and crinkles of paint that I manipulate on the surface of my paintings are like flayed skins (in spite of my use of a full chromatic range). And so I thought it would be the most obvious and natural step to try and dig into their bodies rather than stay on the surface.


One Big Love #73, Oil on Panel, 12 x 10"

One Big Love #70, Oil on panel, 13 x 9.5"

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Basquiat at Gagosian

April 5, 2013, 5:00 am
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Gagosian's big show on Basquiat is still filling the place. New American Painting reviews the show, here are some images, his paintings are still filled with raw power, even in the sparkly clean confines of Gagosian.


Jean-Michel Basquiat | In Italian, 1983, Acrylic and oil paintstick on canvas with wooden supports and five smaller canvases painted with ink marker, 2 panels: 88 1/2 x 80 inches overall, © The Estate of Jean-Michel Basquiat/ADAGP, Paris, ARS, New York 2013. Courtesy Gagosian Gallery

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Andrew Masullo's pushy paintings

April 6, 2013, 5:00 am
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James Kalm does a walk through of Andrew Masullo's show at Mary Boone with a lot of close ups.  Kalm's enthusiasm and analogy to Buddhist poems is certainly warranted.


Andrew Masullo, 5382, 2011


Andrew Masullo
5363
20" by 24"
oil/canvas
2011 

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Catherine Murphy doesn't generalize

April 7, 2013, 5:00 am
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Murphy doesn’t generalize, doesn’t develop shorthand for her subjects, doesn’t use paint in any way that announces painterliness or style. Rather, she does something far more difficult and demanding — she remains devoted to her subject, however plain and ordinary. John Yau, Hyperallergic 


Installation View

Catherine Murphy, “Knot 1″ (2008), oil on canvas on board, 16 x 19 7/8 inches 


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Artist Interview: Mira Schor

April 8, 2013, 5:00 am
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An Avatar of Self: A Conversation with Mira Schor is so rich it had to come out in two parts. Amanda Beroza Friedman's conversation with painter and writer Mira Schor's for Art 21 explores Schors take on painting, time, video and most interesting modest painting.

A painting can open up time, liberate it—when you paint or when you look at a painting. That’s the time I’m interested in and I think that kind of time does defy commodity culture.more

What matters to me is a kind of rigor towards painting itself, whether it be medium or subject matter. It’s not that an artist like Tworkov did not have an ego, or desires for career and name, and yet he was driven by larger ideas about meaning and methods of achieving meaning. Recently I spoke about the concept of modest painting and found myself including a filmmaker like Stanley Kubrick as an example of that quality of modesty: if you channel surf and land in a Kubrick movie you can’t stop watching it. Why? Because he has subsumed his own ego to form, he is working with narrative of course, but also framing, lighting, sound, timing, all the characteristics of film. It’s not just about him. more

Mira Schor. “Silence,” 2006. Ball point pen and oil on linen, 24 x 28 in.


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