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Kohler's Bed on the Floor

April 9, 2013, 5:00 am
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William Eckhardt Kohler reviews Matt Bollinger's show Bed on the Floor at Zurcher Studio.

 a slow moving katabasis; the dystopic descent of bottoming out, depression and loss of social standing.. William Eckhardt Kohler


Bed on the Floor, 2013, Flashes and acrylic on cut and pasted paper, 48 x 72 (...)

Guest (Provo), 2012, acrylic on cut and pasted Flashes and paper, 60 x 48 

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Artist Interview - Lucinda Cobley

April 10, 2013, 5:00 am
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Virgina Billeaud Anderson interviews Lucinda Cobley for The Great God Pan is Dead.

Lucinda Cobley is intellectually engaged with her process of painting and printing on transparent materials such as etched glass and clear plastic. The artist possesses impressive knowledge of her materials and at times sounds like a scientist when discussing light refraction or the chemical properties of marble dust. Her practice is to apply oils or acrylics mixed with minerals and pigments such as alabaster, malachite or marble dust, onto stacked sheets of Mylar, frosted plexi, or glass, so that textured paint, reflected light and shadows resolve into meditative translucence. 

Lucinda Cobley, Intervals No. 5, 2012, Ink on plastic, 50 x 40 inches 
Lucinda Cobley, Intervals (transition), 2013, Ink on plastic, 44 x 36 inches 

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Beautiful, known color, Helen Frankenthaler

April 11, 2013, 5:00 am
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Sharon Butler posts on the Helen Frankenthaler show at Gagosian Two Coats of Paint. Butler uncovered a link to a 1968 interview Frankenthaler did with Barbara Rose.

MS. FRANKENTHALER: And I never really thought about color at all. When I first started thinking about color it was sort of out of perversity. In other words, say around '50 and '51, it occurred to me that something ugly or muddy could be a color as well as something clear and bright and a nameable, beautiful, known color.

Installation view

Helen Frankenthaler, Mother Goose Melody, 1959, oil on canvas, 82 x 104 inches

Helen Frankenthaler, Western Dreams, 1957, oil on canvas, 70 x 86 inches

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THe pure joy of working with paint, Rene Korten

April 12, 2013, 5:00 am
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Look and Listen posted Rene Korten's Yellow Works

Studio Critical interviewed Rene Korten in May
I make my paintings on wood panels. They used to be plywood or masonite, now I prefer MDF boards. The hardness of the surface suits me well. By using tape I can create hard edges,and this is combined with applying highly diluted acrylic paint. Therefore the painting panel is always placed horizontally on the floor or on a table whenever I do the actual painting. Each painting has its own process of creation. Sometimes I make a painting or a series of paintings, based on a concept, for instance in a recent three-part series, where the first layer of each of the works is a big letter in pencil lines, and the combined letters make up the word DUB. In other paintings there is a more gestural approach. But always my aim is to somehow connect the more rational or intellectual part of creating an artwork to the pure joy of working with paint, to an intuitive and only partly controllable way of working.
DESWOP 102011  |  29,7 cm x 21 cm  |  acrylic, print on paper



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Jim Lee at Nicelle Beauchene

April 13, 2013, 5:00 am
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Please be Clean When You Do It, Jim Lee's show at Nicelle Beauchene was an end of the day surprise in the LES. Ridley Howard interviews Jim Lee for Burnaway.

I try to slow people down…I want the viewer to discover things slowly; to have the paintings unveil themselves in a manner that takes time. I guess that’s all part of it. The surface, stretcher, the environment, I want it all to be a factor. I imagine it being like when an athlete talks about the game slowing down… it’s as if everything is functioning on the same level. I imagine it has more to do with confidence in one’s approach.





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Square Vs Rectangle, Scott Wolniak - Artist Interview

April 14, 2013, 5:00 am
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Square Vs Rectangle

Steven Cox interviews Scott Wolniak for Hunted Projects 
That piece was an idea that I thought about for a long time and finally was able to make.  It is based on life experience as a former art handler, as well as my long-standing interests in both physical comedy and visceral art process.  It does comment on impatience and wrong techniques, which have been formative to my studio work.  These tendencies have contributed to the tone of my art over the years.  For example, I would often jump into a project without the correct tools or much of a plan in place.  I have rationalized poor craftsmanship as connected to expressionism and do-it-yourself ethics.  As I got older and gained perspective on my process, I began to transform my bad habits into more conceptually layered, self-aware strategies.  I realize that impulsiveness and mistakes can make for bad art, but can also allow for happy accidents and interesting instability.  I am always interested in aesthetics that seem bad or wrong at first, but then reveal themselves to be perfect on its own terms.
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Henry Taylor, human nature in painting

April 15, 2013, 5:00 am
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Artist Interview: Richard Jackson's Big Ideas

April 16, 2013, 5:00 am
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The Conversation Podcast interviews Richard Jackson on the heals of "Ain't Painting a Pain" at the Orange County Museum. Jackson talks about making his work, maintaining his underground status and staying true to his ideas.


Installation view, Richard Jackson, Big Ideas (1000 Pictures), Rosamund Felsen Gallery, Los Angeles, CA
Photography: Grant Mudford
Courtesy of David Kordansky Gallery, Los Angeles, CA and Hauser & Wirth, Zurich, Switzerland
Installation view, Richard Jackson, The Little Girl’s Room, 2011, September 10 – October 19, 2011, David Kordansky Gallery, Los Angeles, CA


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In Praise of Folly, Phyllis Bramson

April 17, 2013, 5:00 am
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Phyllis Bramson has a new show Lovesick Maladies: Troubled Hearts, Febered Dreams, (Sobs and Kisses) here are a couple of the paintings. Bramson was interviewed in the Distinguished Artists series of the College Art Association a couple of years ago and sadly its not available publicly  Here's a link to a couple of interviews with Bramson, she is inspiring to hear speak because her fierce dedication to challenging her habits and practices to ensure her growth as an artist. Whenever she speaks this is always what comes through.

In Praise of Folly #4 (Hummingbird Love), 2013
mixed media, collage, and oil on canvas
36" x 36"
In Praise of Folly #1 (The Garland Presenter), 2013
mixed media, collage, and oil on canvas
36" x 36"


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Like butterfly wings, Christopher Deeton

April 18, 2013, 5:00 am
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Raphael Rubenstein writes about Deeton's paintings for BOMB Magazine

Eliciting beautiful tonal nuances from black paint alone, Deeton uses symmetry not to riff on the legacy of Morris Louis, but to devise a new iconography and a new technique—despite appearances, his arcing bands are not poured à la Louis but laid down with a paintbrush. Evoking the mirroring structures that pervade the natural world as well as suggesting the more remote symmetries of particle physics, Deeton’s paintings unfold like butterfly wings and loom up like Gothic gates, at once pulling the viewer in ever deeper and marking the magical frontier between two realms. The latest in a long line of artist-alchemists, he sees his paintings as the result of “discovery” rather than “invention”; they are, he says, “the physical manifestation of something that exists elsewhere.”

Number 192, 2010, acrylic on canvas, 84×72 inches. Images courtesy the artist and Steven Sclaroff, New York City. Photos by Tom Powel Imaging

Number 178, 2010, acrylic on canvas, 108×80 inches

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The grid is a negative, Artist Interview, Michiel Ceuler

April 19, 2013, 5:00 am
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Steven Cox interviews Michiel Ceuler for Hunted Projects, the discussion ranges from the process of painting, his transition from representation, source material and of course the grid.  
The whole idea of painting I find quite absurd, I like painting a lot, but I am also quite skeptical towards it at the same time.  I don’t think paint, as a medium on its own is like the most prestigious medium there is, I think painting these days is really hard because you have the history of it.  But I don’t think you should feel guilty because of that because a lot of different mediums actually refer always to painting.  I know I don’t want to feel guilty with it, so maybe there is a subconscious thing to perhaps laugh it away and to not take it too seriously.  I don’t want to sound to cynical on that level, but I don’t really believe in it.

Even a Clock That Doesn't Work Is Right Twice A Day it's Applause Simply Dies
Oil and Spray Paint on Canvas
132cm x 109cm
2012
Der Maler
Oil on Canvas
20" x 28"
2008

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Sculpted Paintings and Painted Sculptures

April 20, 2013, 5:00 am
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Antonio Adriano Puleo show Sculpted Paintings & Painted Sculptures at the Luckman Gallery. More work is available on Puelo's website with great details. X reviews the show for the blog Painting in L.A. and correctly asserts that there is nothing Provisional about Puelo's work. There is an overload of intention here and nothing casual at all about these finely crafted explorations of paint that feel like they were carved out of objects.

Untitled (36c) 

Untitled ( 36c) 2011. 9" x 12" Oil, Acrylic, And Collage on canvas

Untitled ( 40c) 2011. 9" x 12" Oil, String, and Nails on canvas

Untitled ( 39c) 2011. 9" x 12" Enamel on canvas


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Barry McGee's world at the ICA Boston

April 21, 2013, 5:00 am
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Barry McGee's mid career survey opened at the ICA Boston.  Jaime Rojo and Steven Harrington provide a photo tour of the exhibition for the Huffington Post.

Senior curator Jennell Porter provides a video tour of the exhibit. Surveying McGee is not an easy task, neither is moving from the street into the gallery, but McGee proved it was possible.

“Barry was bringing the process of how graffiti is made into the gallery because we don’t usually see graffiti being done when just walking around outdoors–he was interested in translating this energy into the space. Initially it may come across as a bit ‘Disney’, but Barry was thinking more about natural history dioramas–as if to say ‘These are the animals in their natural habitat.’”





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"Bop" and the Process of Painting

April 22, 2013, 5:00 am
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Art21 posted a film of made with Elizabeth Murray working on Bop in 2002-03. Here are a couple of stills from her working in the studio and Bop is below.
“Usually what happens is when I start to really hate it, it starts to go someplace. It’s almost as though you have to get down into that place where you absolutely hate it and want to rip it off the wall, rip it to pieces, and throw it out, to start getting into it.” 
Sometimes it’s felt really like that, like I’m just painting and painting and painting until the right thing happens. And with all of my work (I think every artist has this): you leave it at night, and you come back and you think, “Wow, I’ve got it. I’ve got it!” And then you come back in the morning, and it’s gone; it looks awful.






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Rachel Malin at Edwad Thorpe

April 23, 2013, 5:00 am
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Painting Advanced at Edward Thorpe introduced me to a couple of new artists that I'll post individually.  Here are a few works from Rachel Malin, a painting installation and two paintings that seem timely in their provisionality although they also have a lyrical openness that reminds me of early Laura Owens. 

Titled yellow 
44" x 33"
Oil on canvas

Titled 40
66" x 47"
Oil on canvas

 



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May I Draw, Judith Braun

April 24, 2013, 5:00 am
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Judith Braun's May I Draw is a beautiful show at Joe Shef­tel Gallery. Braun has three constraints that bracket her approach to drawing - symmetry, abstraction and carbon medium. Braun captures a wide range of possibilities within these constraints.  The drawing below is luminous and appears to dissolve right in front of you.


Judith Braun
Sym­met­ri­cal Pro­ce­dure OMI-25–3, 2009
Graphite on Duralar
25 x 25 inches

Judith Braun
Finger Panels 1-4, 2013
Charcoal applied with fingers on paper
Each approx. 96-108 x 24 inches


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Untitled (Shoe) 1968, Guston

April 25, 2013, 5:00 am
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It doesn't take much for me to share some Guston paintings, here are a couple of works from Philip Guston: A Centennial Exhibition at McKee Gallery.

Untitled (Shoe) 1968 acrylic on panel 17 7/8 x 20 inches  
Thaddeus Radell  writes about To J.S. (below) for Painting Perceptions
To J.S. is a superlative work, one that clearly defines Guston as remarkable painter. Here, not only is the content of the picture compelling and haunting in the broad context of our shared social consciousness, but the soundness of its construction has echoes of the great Henri Rousseau. Every form issues from an inscrutable and unnerving precision of weight and position. This necessity of form is further heightened by what James Elkins describes as the alchemy of painting, that state of hypostasis, where ‘one has the feeling that something as dead as paint might be deeply alive’ (Elkins, What Painting Is), the transformation of paint into a higher, spiritual substance.

To J.S. 1977, oil on canvas, 68 x 104 inches


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The most limited and challenging medium, Artist Interview Elisabeth Condon

April 26, 2013, 5:00 am
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Joseph Kendrick interviewed Elisabeth Condon inPour It On Me for Electric Beef.  Condon visited UF last year and enthusiasm for painting infused every conversation.  Here's her response to Kenrick's question of why painting
I always come back to painting. I need it, it fulfills something profound in me—likely the metaphor of mud or merde, a primal impulse. On a visual and intellectual level painting is the most limited and therefore challenging medium, with a long history that ups the ante. In a digital era, swimming in a tsunami of perfect images, is it even possible to paint in a convincing and interesting way?   more



Sugarlight
2013
Mixed media on linen
48 x 48 inches
 Future Legend
2012-13
Mixed media
30 x 40 inches
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Manifesting space, Katharina Grosse

April 27, 2013, 5:00 am
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As the De Pont Museum posits, the underlying question of Katharina Grosse's work is in what way can painting be manifest in space?

Andrea Alessi reviews Katharina Grosses exhibition Two Younger Women Come In and Pull Out a Table for Artslant.
It is impossible to look at – or be present within, as the case might be – Grosse’s work without pondering its creation. Only a very lazy viewer could observe the whole and fail to begin organizing swathes of color, mentally separating layers of paint. Traces of action, rainbow residues marking the passage of time and movement, punctuate Grosse’s works, those on canvas and in the expanded field alike.


Katharina Grosse, Dirt, 2013, acrylic, dirt on styrofoam and Untitled, 2013, acrylic on canvas, 240 x 388 cm; Courtesy Galerie Nächst St. Stephan/Rosemarie Schwarzwälder, Vienna, © Katharina Grosse and VG Bild-Kunst Bonn, 2013; photo Peter Cox.


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Optical buzz, Sanford Wurmfeld

April 28, 2013, 5:00 am
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Color is dangerous, or it is trivial, or it is both. (It is typical of prejudices to conflate the sinister and the superficial.) Either way, color is routinely excluded from the higher concerns of the Mind. It is other to the values of Western culture. Or perhaps culture is other to the higher values of color. Or color is the corruption of culture. David Batchelor, Chromophobia

David Batchelor's thesis on color is one of several  John Yau puts forth to explain Sanford Wurmfeld is one of the best, little-known painters in NYC.

John Yau notes in his review for Hyperallergic
It is impossible to enumerate all the different things that Wurmfeld does with color, and all the effects he achieves, from an optical buzz to a kind of luminous fog that seems to float in front of the surface — something that J. M. W. Turner and Agnes Martin get in some of their work. 
Sam Wurtherfeld, Installation view

Sanford Wurmfeld, Installation View

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