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Painting as a Compulsion, Forrest Bess

April 29, 2013, 5:00 am
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The Menil Collection in Houston has a Forrest Bess exhibitionSeeing Things Invisible. There is/will be an exhibition catalog but I haven't seen it yet. This is the first museum show in twenty years to take present the paintings of the self described "Visionary Painter". Bess primarily lived and worked in the Gulf Coast and died in 1977. Robert Gober curated a collection of Bess' paintings and letters for the 2012 Whitney Biennial that brought together, for the first time, both the paintings and their source material. Robert Boyd reviews the Menil Collection show for Glasstire.

Bess was no formalist. He isn’t trying to arrange colors and shapes in an interesting, aesthetically pleasing way. I see his work as a compulsion, a need to get what he was seeing in his mind down on canvas.  more

Forrest Bess, untitled (1957), 9 7/8 x 14 1/4 inches

Forrest Bess, untitled (The Crowded Mind/The Void) (1947), oil on canvas, 10 x 11 3/4 inches

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Jule Alpert at Soil

April 30, 2013, 5:00 am
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Boundary is Julie Alpert's show at Soil in Seattle. Erin Langer writes about the show for the New American Paintings blog and ties the work to Albers and Delany and their formalist focus. I tend to think more about the Painting and Decorative artists (Miriam Schapiro and Joyce Kozloff) as well as Amy Cutler and Yinka Shonibare's engagement with fabric although certainly not from the same critical position.

Black Pattern Watercolor #4 2013 watercolor and permanent marker on paper 7.5"x8.5"

Installation view

Installation view



Installation view


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The Pilgrimage, MFA exhibition, Logan Marconi

May 1, 2013, 5:00 am
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This is the first of a couple of posts of exhibitions in Gainesville Florida. Logan Marconi just completed his MFA in painting at University of Florida. Here are a couple of paintings from his thesis exhibition at University Galleries and a citations from his abstract.
The Pilgrimagerepresents a metaphysical inquiry exploring notions of illumination in the context of revelation, and the possibility of transcendence through painting.  While The Pilgrimage is not a conclusion to a journey, it is however, a guide which suggests a feltreality; that which is unknown and can only be pointed towards.  
Silence, Oil on Canvas 
40"x 46", 2013

Untitled 22, Oil on Canvas
40"x 46", 2013



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The Inauspicious Present, MFA Exhibition, Donald Keefe

May 2, 2013, 5:00 am
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The 2nd MFA post, Donald Keefe
This is the second post of exhibitions in Gainesville Florida. Donald Keefe just completed his MFA in painting at University of Florida. Here are a couple of paintings from his thesis exhibition at University Galleries and a citations from his abstract.

....explore(s) the sense of foreboding for the future that exists within the malaise of contemporary culture.
            Inspired by the Biblical Tower of Babel story, and informed by history and current events, this work seeks to relate the present to the past, with the intent of pointing toward a, yet to come, universal decay.




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Becoming Invisible, Anne Harris

May 3, 2013, 5:00 am
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Fleeting youth and the invisibility of middle age is present in Anne Harris' new self portraits. Here's an interview with Harris, she addresses the change from being viewed both externally and internally.

Anne Harris
Portrait (Pink), 2008 - 2010
oil on linen
44 x 30

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A color of its own, Ted Stamm

May 4, 2013, 5:00 am
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Will Heinrich reviewed the late Ted Stamm's exhibition at Marianne Boesky Gallery for the Gallerist NY.
...fascination with black not as a dialectical term but as a color of its own, a fascination equally informed by minimalist idealism and by the relentlessly forward-moving practicality of aircraft and automotive design. Unlike an automaker, though, Stamm wanted his black unreflective, and he mixed graphite powder into oil paint to get it that way; and unlike a minimalist, he worked not by reduction but by extension: He built canvases in idiosyncratic shapes with direction and speed.

ZCT-001, 1981
Oil on canvas
25 3/4 x 179 3/4 inches  65.4 x 456.6 cm
PW-37, 1978
Oil on wood
5 x 8 inches  12.7 x 20.3 cm

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as the studio gets heated up, Katherine Bradford, artist interview

May 5, 2013, 5:00 am
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Julia Schwartz interviewed Katherine Bradford for the blog Figure/Ground in February.  I really enjoyed Bradford's emphatic relationship to color, which clearly comes across in these paintings.
 I think artists have to USE color and think in terms of putting color next to color rather than of describing something.  If you squeeze out tubes of the most vibrant 6 basic colors plus black and white and then as the studio gets heated up and brushes get loaded with paint and you’re working so fast that bits of one color get into another color, well hopefully fabulous things happen.

Sargasso 
Oil on canvas, 56" x 66", 2012.

Swim To The City 
Oil on canvas, 20" x 16", 2009.

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BFA exhibitions in Gainesville: Kassewitz, Jones, Peng and Joy

May 6, 2013, 5:00 am
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Today and tomorrow's posts are from BFA painting exhibitions in Gainesville.  I've included links to the artist websites so you can find more examples of their work.

Noel Kassewitz www.artnoel.com
detail of above, Noel Kassewitz www.artnoel.com

Hamilton Jones www.hamiltoncharlesjones.portfoliobox.me/


detail of above, Hamilton Jones www.hamiltoncharlesjones.portfoliobox.me/

Jasper Peng www.jasperpeng.com

detail of above, Jasper Peng www.jasperpeng.com

Carmen, Joy



Noel Kassewitz  www.artnoel.com

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BFA exhibitions in Gainesville: Harclerode, Sikdar, Coleman, Ortiz, Terlonge, Johnson

May 7, 2013, 5:00 am
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This is the second and last post from BFA painting exhibitions in Gainesville.  I've included links to the artists websites so you can find more examples of their work.

Devin Harclerode, 
www.devinharclerode.com


Nandapriya Devi Sikdar 
www.nandapriya.portfoliobox.me

Monique Imperial moniqueimperial.portfoliobox.me/

Shelly Oritz, shellstar33.wix.com/artbyortiz

Carly Coleman



Mirland Terlonge www.mirlandterlonge.com
Ashley Johnson 
ashleynicolejohnson.wix.com/artist

Devin Harclerode, 
www.devinharclerode.com

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Under Extreme Pressure, Joshua Marsh

May 8, 2013, 5:00 am
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Joshua Marsh's new show at Jeff Bailey is reviewed by John Yau for Hyperallergic  

...Marsh is a fiercely ambitious artist. In both the drawings and paintings it is clear that he doesn’t have it all worked out, doesn’t have a style or a signature way of apprehending his subject matter, which is based on observation. In the paintings, the perceptual state he focuses on is both optical and volumetric, a tension between solid form and ethereal light. Using a high-keyed, hothouse palette, he makes his forms tremble and even undulate between silhouette and shadow, thing and ghost. They seem to be there and not there at the same time. more
Joshua Marsh, “Rag” (2013)
installation view

Joshua Marsh, “Dustpan” (2013)
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Artist Interview: William Cordova

May 9, 2013, 5:00 am
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Evan Garza interviewed William Cordova for New American Paintings. I posted some of Cordova's works on paper from his recent show at Sikkema Jenkins, so I thought this interview would be a nice follow up.
Cordova’s work is exceptionally transformative and his approach to painting, like that of his installation work, is grounded in multifarious personal narratives, ritual histories, and subjective perception. Whether creating towering monuments of found speakers or humorous and reductive paintings on used cardboard, Cordova’s incredibly humble approach makes for work that is overwhelmingly thoughtful and executed in a majestic manner in keeping with the medium itself. - Evan J. Garza  more

William Cordova |Untitled (cosmos), 2006-09, mixed media, 61 x 86 inches, Courtesy: Sikkema Jenkins &Co., New Yo
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Skin - Gwen Hardie

May 10, 2013, 5:00 am
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“Borderline focuses on three artists’ unique perspectives of skin, and the role it plays as a sometimes sensory, sometimes literal “border” between the inner and outer realms. The works on exhibit present a duality of beauty and unease through an intimate examination of skin in different manifestations–a resilient organ, a beautiful translucent membrane, or a means for physical and psychological connection. In these highly detailed images, focus is often obscured at first glance, allowing an initial veneration of pure aesthetics prior to the revelation of the subject and the viewer’s uncomfortable proximity to it.  Borderline aims to reveal varied perceptions of skin and question the relationship to the subject.”
curated by Sophie Hahn


Gwen Hardie, Body 06.29.11, oil on tondo, 30 inch diameter, 2011

Gwen Hardie, Body 10.27.11, oil on oval canvas, 30 x 36 inches, 2011




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Philip Taaffe's New Work

May 11, 2013, 5:00 am
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Here are a couple of works from Philip Taaffe's exhibition at Luhring Augustine.  Tyler Green recently interviewed Taaffe about his connections to science, his use of the grid, and repetition of forms for The Modern Art Notes Podcast.

Installation View

Philip Taaffe
Nymphaeum, 2013
Mixed media on canvas

Philip Taaffe
Imaginary Garden with Seed Clusters, 2013
Mixed media on canvas

Philip Taaffe, Panel with Diatoms, 2012.

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Naughty issues of painting, Artist Interview, Jackie Saccoccio

May 12, 2013, 5:00 am
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I use paint in varying degrees of liquidity and apply layer upon layer, with anywhere from 10-50+ passes. It’s an additive occupation. I mean, I cover things, but I rarely edit or wipe off. I want the canvas to record the entire passage of the painting experience, including whatever self-doubt and bravado that went into its making.  more
 Jackie Saccoccio in an interview with Ridley Howard for Burnaway 

Jackie Saccoccio, Portrait: Beast, 2013, 106 x 79 inches, courtesy the artist and Eleven Rivington, NY.

Installation view, Addison Museum of American Art, Open Windows: Keltie Ferris, Jackie Saccoccio, Billy Sullivan, Alexi Worth, curated by Carroll Dunham, 2012.
Jackie Saccoccio, Portrait: Circus, 2013, 79 x 79 inches, courtesy the artist and Eleven Rivington, NY.
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Last Splash, Marilyn Minter

May 13, 2013, 5:00 am
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The scale is a bit deceiving so be sure to check out the installation view to put Marilyn Minter's work in perspective. This show opened at Reigen Projects. Artinfo interviewed Minter a couple year's ago, here's the link.

Last Splash
2012
Enamel on Aluminum
108 x 180 inches (274.3 x 457.2 cm)

Public Eye, 2013, Enamel on Aluminum

, 120 x 180 inches (304.8 x 457.2 cm)


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Sewing as a Platform, Artist Interview, Vanessa Oter

May 14, 2013, 5:00 am
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...I wanted to create "paintings" without relying on only paint etc. so by using the sewing as a platform to create my own mark…they are evolving as such...I never fully know how they will look as the cotton and the stitches all bring the work into their own and "become" themselves...  more
Vanessa Oter, interviewed by Valerie Brennan, Studio Critical


Vanessa Oter, Everything is as it should be,
mixed media on canvas,
2010

Vanessa Oter, Studio view

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Artist Interview, Carrie Moyer

May 15, 2013, 5:00 am
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Carrie Moyer exhibition at the Tang Museum at Skidmore closes next week. Here are a couple of the paintings in the show and a link to the museums interview with Moyer about her process and her influences.
"In 2007, I had a show called The Stone Age. I knew I wanted it to deal with abstraction but I also wanted it to have forms that referred to the body. And because I had this association with goddesses and archeology, those forms made it into this body of work. Now, seven years later, the space in the paintings has changed a lot even though some of those strategies remain. Now, the space in the paintings is totally opened up, but I actually feel like this work is true to who I am and how I want to affect people."

Carrie Moyer, Hook, Line & Sinker, 2012, acrylic, graphite, glitter on canvas, 72 x 60 inches, collection of the artist

Carrie Moyer, Hong Kong Garden

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Duncan Jones at Marcia Wood

May 16, 2013, 5:00 am
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Here are a couple of Duncan Johnson assemblage reclaimed wood paintings at Marcia Wood Gallery.

Duncan Jones, Color Code, 48 x 60

Duncan Johnson, Anchor Bay, reclaimed wood

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Matt Rich at Devening Projects

May 17, 2013, 5:00 am
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Matt Rich's show Razors & Vapors is up at Devening Projects. Rich's improvisational paintings, they're installed directly on the wall, tend to critique the objectness of painting, but really I just enjoy them as more evidence of the potentialities of paint.


Pink (2013)
acrylic and graphite on cut paper, linen tape, 47.5 x 38.5"


Installation view from KCLOG

Balls (2013)
acrylic and graphite on cut paper, linen tape


Second Red (2013)
acrylic paint on cut paper, linen tape, 49 x 52 inches

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Kiefer's Let a Thousand Flowers Bloom

May 18, 2013, 5:00 am
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Will Henrich describes Anselm Kiefer's show at Gagosian for the GalleristNY...
The raw intensity of abstraction is fit into the direct clarity of figuration: dollops of white paint with black hearts have yellow-orange accents, vague little areas of royal blue float without anchor, and algae-colored stains on the bottom are more like the misremembered synthesis of a meadow than like any one thing you’d ever see. more
Kiefer’s ‘laßt tausend Blumen blühen,’ 2012. (© Anselm Kiefer, courtesy Gagosian Gallery, photograph by Charles Duprat)

detail ‘laßt tausend Blumen blühen,’ 

Kiefer’s ‘der Morgenthau-Plan,’ 2012. (© Anselm Kiefer, courtesy Gagosian Gallery, photograph by Charles Duprat)

detail der Morgenthau-Plan 
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