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)
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)
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…”
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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