Quick study:Individualists' edition

Carroll Dunham talks with Aimee Walleston about the painting show he curated at his alma mater, Phillips Academy. The show includes Keltie Ferris, Jackie Saccoccio, Billy Sullivan and Alexi Worth. "I had four rooms, and I wanted the exhibition to be very diverse. If I had six rooms, I would have made it even more diverse. As I go along in life, I tend to be interested in a wider range of positions, in terms of what I'm willing to look at and think about. That thinking has affected my own approach to painting. Here, there's no artist who takes a particularly ironic attitude, for example, and there's no artist who is overtly dealing with identity or political issues. This is more about the idea that painting is something individuals just do." (Art in America)

 Installing one of Jackie Saccoccio's paintings at the Addison Gallery at Phillips Academy. (via)

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Zak Prekop's show at Harris Lieberman, installation view.

John Yau considers Zak Prekop's show at Harris Liberman Gallery. "There are a number of things that distinguish Zak Prekop, who was born in 1979, from other young painters. The most important one is that he hasn’t turned what he does into a style or, in today’s parlance, a brand consisting of signature gestures....Prekop’s tough-minded independence is notable. He has neither bought into the paradigm of deskilling nor aligned himself with the widely practiced style of provisional painting. His explorations of formal issues are a good indication that there is still much that can be done." (Hyperallergic)

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Raphael Rubinstein brings Dutch artist René Daniëls to our attention. "He emerged in the late 1970s as part of a generation of artists in the U.S. and Western Europe who embraced a mode of art-making that had been more or less forbidden for the previous decade: representational painting. And here we encounter the first of our problems: the artists with whom Daniëls was initially grouped—the so-called Neue Wilde neo-expressionist painters—were artists with whom he had little to do. Yes, he was “returning” to painting; yes, he indulged in loose, intentionally “bad” brushwork and cartoonish figuration; yes, he was interested in reconnecting to repressed aspects of modernist painting. But unlike his mostly German counterparts, Daniëls implanted subtle humor in his art, relied greatly on the punning references of his titles, and, increasingly, foregrounded the problematics of painting rather than wallowing in the newly available sensuality of the medium..." 

 René Daniëls, The Battle for the Twentieth Century, 1984, oil on canvas, 100 by 120 cm.

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Hennesy Youngman wants to put your work in his show at Family Business.  "I won't discriminate...just bring it on down...If you didn't get into the Biennial, Triennial or your ass didn't even get into the  Brucennial, bring it on down to Hennesy..." (via)



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