Award-winning blogazine, primarily about painting
Thursday, May 16, 2024
During my first visit to Daniel Wiener’s studio, we talked about his Apoxie-Sculpt head series that fuse a 1960s psychedelic sensibility with collective angst, his idiosyncratic process, and an exploration of other unusual projects during the lockdown.
Contributed by Jason Andrew / There is a long history of artists expanding the objectness — that is, the sculptural dimension — of painting. Picasso and Braque introduced this concept in their assemblage works; Vladimir Tatlin broadened it in his “counter-reliefs” alongside Elsa von Freytag-Loringhoventhe, the “Dada Baroness”. For the […]
Contributed by Jason Andrew / It seems only fitting that University at Buffalo, an institution built on the reputation of one of the great female art dealers of the 20th century, Martha Jackson, would be the one to raise the bar that much higher when it comes to �women�s work.� […]
Contributed by Zach Seeger / In Andrew Woolbright�s current show “Expresso Your Depresso,” at ADA Gallery in Richmond,�Virginia, the artist creates a series of mixed media pieces�that fill the space with exuberant painting and billowing melancholy.�Reminiscent of the imagined ghost ships of Fellini�s Juliette of the Spirits, Woolbright�s paintings are […]
Contributed by Sharon Butler / Now in her mid-60s, Leslie Wayne has had several impressive shows at Jack Shainman, but the work in her current exhibition, on view through March 30, exceeds its predecessors in conceptual confidence, mastery of materials, and even an impressive swelling of imagination. She has scaled […]
Contributed by Jason Andrew / De Kooning once said, �Every so often a painter has to destroy painting.� Cezanne did it. Picasso did it. Then there was Pollock. As de Kooning put it, he �busted our idea of a picture to hell.� And after him came Judy Pfaff. Ever since […]
Contributed by Riad Miah / Dennis Hollingsworth�s exhibition �Burgeoning,� the artist�s first solo show at Gallery Richard on the Lower East Side, comprises conventional paintings from as early as 2014 and newer ones that move decisively into three dimensions. Without adding solvents, Hollingsworth massages paint from the tube to a creamy […]
Contributed by Sharon Butler / Climate change is in the air, so to speak. I recently finished binge-watching Fortitude, an ongoing British sci-fi series about a Norwegian research outpost in the Arctic. The permafrost has begun to melt, unleashing unexpected horrors including species-jumping bacteria and a dangerous buckling effect whereby […]
Contributed by Dion Kliner / A preamble: An elephant in a living room, as unlikely as it is to find one there, would never be mistaken for a couch. That is something of the situation that Jeremy Hof’s work puts one in; forcing the unfortunate necessity of bringing up the question of a particular piece being either painting or sculpture when an answer should be obvious and unnecessary. At this date the general question of something being either painting or sculpture is about as interesting as the question of whether something is art or not, and as equally productive (which is to say not at all). And yet here the question sits (I imagine it grinning), persistent and unavoidable.
Contributed by Jonathan Stevenson / Elizabeth Murray (1940�2007) was one of art�s gloriously purposeful paradoxes. Her work is irrepressibly bold yet insistently nuanced; liberated in spirit though domestically grounded in everyday objects; audaciously abstract but rigorously referential; simultaneously affirming and deconstructive; tightly composed while casually gestural. These magnificent tensions emerge […]
