January 31, 2011

Quote of the Day: Michael Graves

 “When you’re painting,” architect Michael Graves said, “you start with the sweep of the landscape, but then as you start to recompose it and fill it in, you often find yourself painted into a corner. The escape from the corner — that’s the best part of it, the most exciting moment.” (via NY Times)

"Michael Graves: Landscapes and Still Lifes, " Rider University Art Gallery, Lawrenceville, N.J. Through February 27, 2011.


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Dan Bayles: Built on sand

 
Dan Bayles, "(Site Photo 5) Khan Bani Saad Correctional Facility," 2009, mixed media on canvas, 18 x 24"
Dan Bayles, "(Site Photo 2) Khan Bani Saad Correctional Facility," 2009,  mixed media on canvas, 30 x 40"
 Dan Bayles, "(Site Photo 25) Khan Bani Saad Correctional Facility," 2009, mixed media on canvas, 72 x 80"
 Installation view. Dan Bayles, "Contract-W914NS-04-D-0009" at François Ghebaly


Dan Bayles's exhibition, "Contract-W914NS-04-D-0009" at François Ghebaly Gallery in LA, is based on inspection photographs of the Khan Bani Saad Prison reconstruction project in Iraq. Ultimately the project was terminated due to faulty construction, and the buildings were left half-built and unused. Bayles sees the prison as a symbol of the US failure in Iraq. "If there is success to be found in the project, however, it is to see the empty shell in the desert as an unintentional sculpture or earthwork, which in its failure accurately portrays America’s foreign policy and expansionist endeavors."

In the LA Times, Sharon Mizota reports that the new paintings, comprising loose brushwork, torn paper collage and muted colors, have "a soft-edged, ephemeral quality that belies their bombastic subject matter. Concrete and steel are rendered frail and contingent in Bayles’ hands. This misty quality speaks to the provisional, invented nature of the imagery...Somewhere between a faithful depiction and an idealized idyll, Bayles introduces fuzziness....Humble fragments, they make the grand modernist plan look as if it were built on sand."

In Frieze Magazine, Jeffrey Ryan reviewed a 2008 exhibition in which Bayles based his paintings on  architectural renderings for the costly Baghdad Embassy construction. "Bayles not only gives us some apt metaphors for these imprudent times but also shows us how things really are: dusty, unfinished, bankrupt and empty."

"Dan Bayles: Contract-W914NS-04-D-0009" François Ghebaly Gallery, Los Angeles, CA. Through February 5, 2011.


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January 28, 2011

IMAGES: Karen Schifano

Karen Schifano, "New House," 2008, oil on canvas, 20 x 30"

 Karen Schifano, "Gangplank," 2009, oil on canvas, 84 x 40"

Twice in the past few weeks I've picked Karen Schifano's paintings out of large group shows. Primarily I'm drawn to the metaphorical possibilities presented by linear perspective, but Schifano's evocative color and palpable sense of touch also speak to me. "New House" is in "Plane Speaking," an excellent group show at McKenzie Fine Art (through February 12) and a diminutive gray beauty (I don't have a good image--you'll have to go see it yourself) in "It's all Good! Apocalypse Now," the annual inclusive group show at Sideshow in Brooklyn.  Schifano's upcoming shows include the 1st International Festival of Non-Objective Art at the Pont de Claix, curated by Roland Orepuk in Grenoble, France, which opens February 15, 2011.

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IMAGES is a weekly feature devoted to work by painters who deserve more love.

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January 25, 2011

Timothy Buckwalter's vision

 Installation view: Cliff Hengst, wall drawing (in progress), acrylic paint on wall.

 Installation view: Timothy Buckwalter, Sharon Butler, John Zurier, Mia Brown.

Installation view: Elaine Bradford, Elaine Bradford, Danny Thach.


Installation view:  John Zurier, Timothy Buckwalter, Timothy Buckwalter, Sharon Butler, Willie Harris.

 Installation view: John Zurier, Chris Ashley, Sharon Butler, Jeremy Burleson
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 Installation view: Chris Ashley, Sharon Butler, Jeremy Burleson, John Zurier, Dorian Reid.

 Installation view: Mia Brown, Timothy Buckwalter.

 Installation view: Jeremy Burleson, Sharon Butler, Shirley How, Mia Brown,  Jeremy Burleson, Lacee King.

Installation view:  Lacee King, Katy Stone

 Installation view: Chris Ashley, Willie Harris, James Aarons , Danny Thach, Lois Ann Barnett

"Twist and Crawl," the first of a three-part exhibition curated by artist Timothy Buckwalter, blends more than 30 works culled from artists and galleries across the country with those by artists from the National Institute of Art and Disabilities studio program. Buckwalter, who has organized a thought-provoking installation, calls the exhibition "a preview of a future in which work by artists who have been diagnosed with disabilities is viewed in the same light as work by those without disabilities."  I was pleased when Tim invited me to participate. I lent a few small paintings from the 2008-09 Habitat series 

For more than 25 years, NIAD’s 50‐plus artists have been creating art that engages current conversations in contemporary art. Beginning in Spring 2011, along with the two studio programs also supporting disabled artists (Creative Growth and Creativity Explored), NIAD will be the subject of a traveling exhibition organized by Lawrence Rinder and Matthew Higgs for the Berkeley Art Museum.


"Life of The World To Come: Twist and Crawl," National Institute of Art and Disabilities studio program, Richmond, CA. Through March 16, 2011. Artists include: James Aarons, Chris Ashley, Lois Ann Barnett, Elaine Bradford, Mia Brown, Jeremy Burleson, Timothy Buckwalter, Sharon Butler, Willie Harris, Cliff Hengst, Shirley How, Lacee King, Dorian Reid, Katy Stone, Danny Thach, John Zurier


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January 21, 2011

IMAGES: Stephen Maine

Stephen Maine, "Smoke picture (orange/purple)," 2009, acrylic on panel, 12 x 12"

At Sideshow in Brooklyn last week, I saw one of painter/critic Stephen Maine's small, intensely-colored smoke pictures. "This series is new," Maine says. "It is called Rauchbilden, or, 'Smoke pictures,' and addresses the dubious nature of image-making at the present moment. Touchstones are Jean Dubuffet, Piero Manzoni, and Yves Klein. To the extent that the past is a cloud of smoke, these paintings refer to the past." Maine, whose writing has often been featured on Two Coats of Paint,  is curating two shows at the moment, one for Lesley Heller (opens 3/2) and one for the Painting Center (opens late April).

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IMAGES is a weekly column devoted to work by painters who deserve more love.



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NY Times Art in Review: Piotr Uklanski

 Piotr Uklanski, Untitled (Atomic Ovum), 2010, fiber-active dye on oxidized cotton textile stretched over cotton canvas, 88 7/8 x 93 3/4"

 Piotr Uklanski,"Jupiter Glow," 2010, fiber-active dye on oxidized cotton textile stretched over cotton canvas, 61 3/8 x 75"

 Installation view. Images courtesy of Gagosian. Photography by Robert McKeever.

Piotr Uklanski (b. 1968, Warsaw) is a skeptical painter aligned with the popular school of anti-painting. For his current show (described in the press materials as a "mise-en-scène") at Gagosian, he has developed a process using bedsheets from Ikea and Bloomingdales, bleach, and tie-dye techniques that enables him to make large, painting-like objects without actually painting. Uklanski suggests that the installation at Gagosian reveals an irreverence towards mainstream modernism that has emerged from his position as an immigrant in the city that gave rise to Abstract Expressionism. “Neither English nor abstraction is my mother tongue." he writes. "These paintings ‘speak’ an aesthetic ESL.”

Roberta Smith argues that Piotr Uklanski doesn’t make art as much as he makes exhibitions that give temporary form to Conceptual attitudes. "Lately he has been adding body to his ideas by appropriating the processes and materials of craft, which also lend a straight face — even a veneer of sincerity — to his ironic stance....The ensemble dazzles but quickly disintegrates. The collaborating pieces aren’t paintings; they are “paintings,” paintinglike props or décor, newly made period pieces that are already, as you read this, beginning to fail the test of time.... It is all great, colorful fun while it lasts, but it doesn’t last that long. It is hard to imagine any of the paintings looking credible without the others, despite the probable gaggle of collectors willing to pay a pretty penny to be in on the joke."

"Piotr Uklanski: Discharge!," Gagosian, New York, NY. Through Feb. 19, 2011.


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January 19, 2011

A Bushwick painter



Check out the James Kalm Report from Deborah Brown's show at Lesley Heller. "For the last five years Deborah Brown has painted images of her Bushwick neighborhood. During that time she has also been one of the area's most staunch supporters. But it wasn't until she opened STOREFRONT Gallery last year that things really started to click. Working as a local art activist, with her neighborhood focus, Brown has featured dozens of Bushwick, Williamsburg and Brooklyn artists in shows, and become a nexus of the artistic community. The painting are a testament to her appreciation of this local and show a fondness for its quirks and characters." (And look for remarks from Two Coats of Paint at 2:29!)

In the video, James Kalm compares Brown's paintings to those of Loren MacIver, who depicted the objects and incidents of her daily life in a fragile, ethereal style reminiscent of Marc Chagall and Paul Klee. Although her name isn’t as well-known as female contemporaries like Georgia O’Keefe, she represented the United States at the 1962 Venice Biennale, had a retrospective at the Whitney, and placed work in many prestigious collections. Check out "Tracking Loren MacIver," an article I wrote in 2008 for The Brooklyn Rail. 

"Deborah Brown: The Bushwick Paintings," Lesley Heller, New York, NY. Through Febrruary 20, 2011.

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January 18, 2011

Joe Bradley, Part II: A brand they can trust

 Joe Bradley, installation views at Canada.

Reading the statement for Joe Bradley's exhibition at Canada (which runs concurrently with the Ab Ex-y paintings on view at Gavin Brown's Enterprise that I wrote about yesterday), and looking at the goofy silhouetted images, I wondered if this was a script from Saturday Night Live. After all, as reported by Katya Kazakina at Bloomberg, Steve Martin is a fan.

Bradley is interested in "the aura of life, evidenced through his struggle for depiction," the statement reads. "Figure ground relationships, the most taut relationship in the plastic arts, are the key field of battle for Mr. Bradley’s figuration. The clarity of black silhouette of the figures contrasted with the stark whiteness of the ground seems to state with certainty the primacy of the image. The slightest gesture: hands to the left or hands to right, knees bent or knees straight are ciphers for meaning in Mr. Bradley’s crypto-narrative...."

His motivations strike me as more cynical and wise-ass than this description implies, but I like Bradley's embrace of distinctly different visual languages like gestural abstraction and monochromatic minimalism. The traditional paradigm for painters, which galleries often encourage, has been to develop a recognizable style and doggedly refine it for an entire career.  In an Art in America interview with Yasha Wallin, Bradley talked about the shifting styles. After the Whitney Biennial, "it was the end of the line for those modular pieces. They were a lot of pre-production. There wasn't a lot of play involved once formal decisions were made. I wanted the freedom that a painter has to let anything happen in the space of a rectangle." Bradley's shows have sold out, proving that radical change won't necessarily kill a painter's career.

"Between Bradley’s first solo show at Canada in 2006 and the Gavin Brown’s exhibition, his prices increased 1,106 percent," Katya Kazakina reports at Bloomberg. "Back then, his robot-like forms made of monochrome canvases were offered for $6,000. They didn’t immediately sell, but dealer Javier Peres spotted the artist and gave him a solo show in Los Angeles the following year. That got the attention of curator Shamim Momin, who included Bradley’s robots in the Whitney Biennial in 2008. Suddenly, everyone wanted a robot, Grauer said. But for his next show with Canada, Bradley delivered a group of sparse oilstick drawings on dirty unprimed canvases. Called 'Schmagoo Paintings,' the group included one canvas with number 23 drawn on it, one with a cross and a third with just one horizontal line.

“'I was like, ‘What? We cannot do that! Do you have some of those robots?'  Grauer recalls telling the artist. 'I was jokingly telling Joe that he was throwing away a perfectly good career as a monochrome painter.' Despite the change, Bradley’s career and prices kept rising. In 2009, he was included in Charles Saatchi’s “Abstract America” exhibition in London. In February 2010, blue-chip Chelsea gallery Mitchell-Innes & Nash showed Bradley’s blank large canvases in a group show, with prices ranging from $22,000 to $24,000. In November 2010, his robot painting 'Good Foot' (2008) fetched $60,000 at Phillips de Pury auction house in New York, up from the presale estimate of $15,000 to $20,000. Canada placed more than a half of the silkscreens in less than 24 hours of the opening last week. Most buyers already owned Bradley’s work and were familiar with his propensity for change, said Grauer.

"'They are willing to roll with Joe and with the prices,' he said. 'Joe is a brand they can trust.'”

NOTE: If you like silhouetted figurative work, I highly recommend checking out paintings by Bushwick artist Adam Simon who silhouettes generic images from stock photography catalogues.

"Joe Bradley: Human Form," Canada, New York, NY. Through February 21, 2011.


Related Posts:
Joe Bradley meets Ab Ex

Holland Cotter: Unadventurous painting is everywhere (at least in New York)
 
Louise Fishman: Ignoring aesthetic wanderlust
Painting of the Day: "Meeting" by Adam Simon




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January 17, 2011

Joe Bradley meets Ab Ex

 Joe Bradley, installation views at Gavin Brown's Enterprise.



Joe Bradley, "Pigpen (#2)," 2010, oil on canvas, 97 x 72"
Joe Bradley, "Mouth and Foot (Ichthus)," 2010, oil on canvas, 78 1/4 x 100"

I like the look of Joe Bradley's new paintings at Gavin Brown and the hallucinatory conflation of the painting process with taking a shit, masturbating, looking for god, and taking drugs in his press release: "On the can, waiting for a sign. If there's one thing seems I've got going for me it's this. I can do it for hours on end. Hunched over the crossword like a big cat, eyes fixed on it's prey (just kidding...) and after a while it becomes absurd, so I leave. A half hour later the mark realizes no ones home and shrugs the whole thing off. 'Paranoia' he says 'must be bad shit...Stood still all day for nothing.' It's like my mother said, 'I am waiting for God to show me his face.' Snatches of him through the brush, an odd reflection in the water....I imagine God as a beautiful woman with his teeth kicked out. The rose and thorn create a problem, a sort of feed back loop... You can look and look and never learn a thing."

Bradley has returned to painting after his coy outings with grease pencil on canvas at Canada and  painted frames at Mitchell-Innes & Nash. Perhaps he has sheepishly begun to find meaning in the painting process. Just as likely, however, he saw MoMA's Abstract Expressionism show and is riffing on the earnest way they slung paint back in the day. In the New York Observer, Will Heinrich argues that Bradley's more painterly images still don't mean anything.  "A line of framed pencil, ink and crayon drawings are hit or miss: a simple round face with back-and-forth hair and a triangle nose, or a stick-legged figure on the back of a ripped orange flier, balance childish impulse perfectly with an adult eye. Yet a cartoon hand holding a cross not only doesn't mean anything but doesn't even mean anything by not meaning anything.

"The paintings, floating cacophonies of simple colors and not-quite images on dirty, untreated canvas, are like Turing-test koans—they dare the viewer to think about them. The cock of 'Mouth and Foot (Cock and Balls),' for example, is a black, whale-shaped outline with a red windowpane in its face; the Christian fish of 'Mouth and Foot (Ichthus)' is inside an almond-shaped mouth with six pointy teeth; and 'Mouth and Foot (Bust)' is a pixelated nipple that's really a man that's really two stacked canvases with schematic circles for breasts. Of course, real koans have answers. The sound of one hand clapping, for example, is a slap."

 Joe Bradley, installation view, 2008. Image courtesy Canada.

"Joe Bradley: Mouth and Foot Painting," Gavin Brown's Enterprise, New york, NY. Through February 19, 2011.

Related Posts: 
Joe Bradley at Canada: "Whether you like it or not, you’re a fool"
NY Times Art in Review: Avery, Martin, Bradley, Parsons, Crow
"A No Paintings Biennial would've at least made everyone hysterical"



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January 15, 2011

Sam Gilliam's monoprint project

Sam Gilliam, "Printing on the World 3," 2010, oil based monotype,acrylic paint, powdered pigment, 30 x 22”
Renée Stout, "Rusted Sign,"2010, oil based monotype with mixed media, 30 x 22”

Tom Green, "Charred I," 2010, acrylic on oil based, monotype, 30 x 22”

Installation view.

"In Unison: 20 Washington, DC Artists," an exhibition derived from a monoprint project initiated by Sam Gilliam, is on display at the Kreeger Museum in DC through February 26. Gilliam invited 19 painters, sculptors, printmakers, digital media and installation artists to join him at the George Mason University School of Art's new print studio where they created several print portfolios. Working together provided an opportunity for interaction and promoted collaboration – which has long been a part of the printmaking tradition. Each artist made a set of five monoprints, one of which was chosen for the show. Artists include bk.iamART.Adams, Akili Ron Anderson, Sondra N. Arkin, Paula Crawford, Sheila Crider, Edgar Endress, Helen Frederick, Claudia Aziza-Gibson Hunter, Sam Gilliam, Susan Goldman, Tom Green, Martha Jackson Jarvis, Walter Kravitz, Gina Lewis, EJ Montgomery, Michael B. Platt and Carol A. Beane, Al Smith, Renee Stout, Yuriko Yamaguchi, Joyce Wellman

In The Washington Post, art critic Kriston Capps reports that, while most of the prints lack dynamic innovation or challenging content, they're certainly lyrical and pleasing. "Gilliam has assembled a number of black Washington artists who were overlooked by the other retrospective shows in town. Perhaps the value of 'In Unison' is that it gets an older generation of artists out of their studios and into a new workshop environment. And the Kreeger Museum lends comfortable context to the show: Kandinsky and Paul Klee, whose paintings hang outside the exhibition, could be the show's patron saints."

"In Unison: 20 Washington, DC Artists," selected by Sam Gilliam, Judy A. Greenberg, Marsha Mateyka, Claudia Rousseau. The Kreeger Museum, Washington, DC. Through February 26, 2011.



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January 13, 2011

Really, it's ALL good

I'm dwarfed by the paintings in "It's All Good (Apocalypse Now)," a huge group show @ Sideshow (image by Joanne Mattera)

Painting @ Sideshow by Anne Russinof
Hrag Vartanian writes in Hyperallergic that the show has been held every year since 1996. "What makes the show so unique is the surprising juxtaposition of famous artists (Michael Goldberg, Bill Jensen, Judy Pfaff, Larry Poons …) with lesser known talents and even some complete unknowns. Organizer Richard Timperio says there is no unifying theme to the shows, but he likes the playful titles and wants to keep it as open as possible." If you go, plan to spend some time--there's a lot to look at.

"It's All Good (Apocalypse Now)," Sideshow Gallery, Williamsburg, Brooklyn. Through February 20, 2011.

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Paintings of a certain size (and depth)

Josh Smith, Untitled, 2010, oil on canvas, 60 x 48"

"Untitled (Painting)," an excellent exhibition on view at Luhring Augustine through February 5, features large abstract paintings that are engagingly conceptual but, at the same time, uniquely process driven. Josh Smith, whose conceptual conceits often overpower aesthetic engagement, may be starting to believe in the process of painting. I'm looking forward to his solo show in February.

Other artists in the exhibition include Tauba Auerbach, Bernard Frize, Wade Guyton, Albert Oehlen, Josh Smith, Daan van Golden, Charline von Heyl, Christopher Wool, Heimo Zobernig. Here is a little info I gathered about each artist's process and ideas.

Heimo Zobernig, Ohne Titel, 2007, acrylic on canvas, 78 3/4 x 78 3/4"

"Zobernig's practice is arguably best considered as one that 'view[s] the great modernist project as in a perpetually unfinished state' (David Pestorius in his essay Due Process). For why else would an artist since 2000 produce grid paintings, often in a diamond format, if not to bring to bear the ghosts of Piet Mondrian and Blinky Palermo? But unlike Modernism's adversity to discourse, Zobernig's process embraces, in an almost theosophical sense, the spiritual use of the straight line, playfully building on historical moments and revealing an intuitive approach that upon first glance may appear at odds with the coolly grid-like system. Zobernig's process is a completely subjective one in which the artist is opening up and questioning our historical legacy and its conflicts, such as the real vs. the symbolic or the secular vs. the spiritual."(via

Installation view.

Tauba Auerbach, "Untitled (Fold)," 2011, acrylic paint on canvas, 60 x 48"

"Tauba Auerbach’s elegant, methodical compositions deconstruct the conventional ways visual and perceptual information is conveyed....Auerbach manipulates large pieces of raw canvas into various configurations through folding or rolling. She then lays the canvas out flat and paints its surface with an industrial spray gun aimed at different angles to achieve a trompe l’oeil effect. By creating an object in which two supposedly discrete states—flatness and three dimensionality—are merged, Auerbach confronts the limitations between these states, revealing an ambiguity that is often overlooked." (via)

Charline von Heyl, "Doublebeast," 2010, acrylic, oil and charcoal on canvas, 82 x 78"

"Charline von Heyl has described as a reason to paint the desire to invent an image that has not yet been seen and cannot be named. Her approach towards the canvas is often paradoxical: deep flat space, vivid dead color or static and frozen gestures are combined with opposing speeds." (via)

Daan Van Golden, "Celuy qui fut pris I/IV," 2007, oil on canvas, 78 3/4 x 49 1/4"

"The Dutch artist Daan van Golden locates both his life and his art between two quotations: ‘Youth is an art’, (Oscar Wilde) and ‘Dying is an art’ (Sylvia Plath). Although at first sight paradoxical, the statements are actually two sides of the same coin. Originality is not an artistic quality. What we learn from Van Golden’s work is that critical observation is as good, if not better, than the pretension of invention. One tale Van Golden likes to tell is the story of an emperor who commissioned a mural from two separate groups of Greek and Chinese artists. So that both teams couldn’t see the work of the other, a temporary wall was built to divide the room in two. When both murals were finished and the partition came down, the emperor saw that the Greeks had merely polished their wall so that it gently mirrored the Chinese painting." (via)

Bernard Frize, "Fabia," 2007, acrylic on canvas, 86 5/8 x 70 7/8"
 
Installation view.

Christopher Wool, Untitled, 2010, silkscreen ink on linen, 126 x 96"

"....Begins silkscreened flower paintings 1993 Meets Michel Majerus 1994 Makes road-signs for Martin Kippenberger's Museum of Modern Art Syros 1994 New York Knicks lose to Houston Rockets in Game 7 NBA Finals 1995 Organizes retrospective of the New Cinema late 70's New York underground Super-8 films 1995 First spray-paintings 1995 Kids 1996 East Village studio severely damaged in building fire leaving Wool without a working space for 8 months artist's insurance photos become portfolio Incident on 9th Street 1997 Marries painter Charline von Heyl..."(via)

Installation view.

Albert Oehlen, Untitled, 2005, acrylic and oil on canvas, 110 1/4 x 133 7/8"

"Albert Oehlen was born in Krefeld, Germany in 1954. Oehlens early years were marked by many collaborations including Werner Büttner, Georg Herold and most notably Martin Kippenberger. In 1988 Oehlen and Kippenberger lived together in Spain for a year and during this time Oehlen dedicated himself completely to abstract painting. Throughout his career Albert Oehlen has redefined the boundaries of both figurative and abstract painting by continuously expanding the definition of what makes a painting formally successful." (via)

Installation view.

Bernard Frize, "Roc," 2010, acrylic and resin on canvas, each of two panels: 180 x 220 cm

"In his thirty year career, Mr. Frize has explored many unusual and rigorously controlled techniques for the creation of his paintings. The works are so complex, they nearly all require the aid of assistants or a mechanical touch. The results of his intensive processes yield beautifully patterned paintings, sure to mesmerize anyone who looks upon them. Brilliant colors mix delicately, following the grids laid out in Mr. Frize’s preparation. The collision of the paint’s fluid freedom with the strict structure that the paint occupies, makes for a truly unexpected juxtaposition, a most regimented incarnation of post-painterly abstraction. Like jazz, these paintings are neither completely constrained nor absolutely liberal, instead they occupy an intoxicating state of “in-between." (via)

Heimo Zobernig, Ohne Titel, 2009, oil and acrylic on canvas, 78 3/4 x 78 3/4"

Wade Guyton, Untitled, 2007, Epson UltraChrome inkjet on linen, 84 x 69"

"Made with an Epson large format printer these works are printed on pre-primed linen intended for oil painting and not inkjet printing. As such, the images, marks, and letters Guyton continues to employ are absorbed into the porous material and disperse the ink rather than allowing it, as in his previous works, to "sit on the surface." ...By repetitively overprinting, an unexpected painterly process developed. As each piece is created, they transcribe a visual record of the printer's actions: the trace of movement of the print heads, the varying states of their clogged-ness, the track marks of the wheels on wet ink all mixed with the scratches and smears on the paintings from being dragged across the floor to be fed back again into the printer." (via)

"Untitled (Painting)," Luhring Augustine, New York, NY. Through February 5, 2011.


Related posts:
Who is Charline von Heyl?
NY Times Art in Review: Art Green and Josh Smith
Everybody hearts painting, 4eva
Ann Craven speaks in Cambridge


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