President’s portrait

From the label text at the National Portrait Gallery in Washington, DC: American artist Gilbert Stuart was commissioned to paint this portrait after the success of his first portrait of Washington in 1795. Martha Washington convinced the president to sit again because, according to artist Rembrandt Peale, she “wished a Portrait for herself; he therefore … read more… “President’s portrait”

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Virtuosity: David Humphrey at Fredericks & Freiser

Contributed by Jonathan Stevenson / David Humphrey’s visual and intellectual virtuosity – augmented by the smooth surface finality of meticulously applied acrylic paint – is such that he seems to accomplish everything he wants in a given painting. Each one in his current exhibition “I’m Glad We Had This Conversation,” at Fredericks & Freiser, stands … read more… “Virtuosity: David Humphrey at Fredericks & Freiser”

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Quick study

This week: Links to a painting review of Mimi Lauter’s show in LA, the winner of the 2017 White Columns/Shoot the Lobster Award, Anish Kapoor in Brooklyn, Olafur Eliasson’s early paintings, stolen painting resurfaces, rough sketches for the peace symbol, NYTimes goes to Bushwick–but no Trumpistan politics! In the LATimes, Leah Ollman reviews Mimi Lauter’s exhibition at Tig … read more… “Quick study”

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2017 College Art Association Conference intel

This week the College Art Association Annual Conference takes up residence at the New York Hilton Midtown. For non-members, onsite registration costs $595 for the entire five-day event, which features presentations, panel discussions, reunions, and more. This year, CAA has introduced a $150 day-pass, but if readers are interested in attending, they might consider the … read more… “2017 College Art Association Conference intel”

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Quick study

Featuring links to articles about the Painting in the 1980s and Raymond Pettibon exhibitions, distracted by politics, Mother Jones, David Corn, Blue Mountain Center, I Am Not Your Negro, an Art+Feminism Wikipedia Edit-a-Thon, more… This week “Fast Forward: Painting in the 1980s” opened at the Whitney Museum. The exhibition features many of the artists I loved when I first started painting–Terry … read more… “Quick study”

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Katharina Grosse on canvas

When I first saw Katharina Grosse’s paintings at Gagosian, my reaction was that they were too big, and that the surfaces were too flat–that they looked better on the computer screen than they did at the gallery. Berlin-based Grosse (b. 1961, Germany) is mainly known for large-scale three-dimensional work that features bright, unmixed, sprayed-on color that evokes abstract … read more… “Katharina Grosse on canvas”

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Snow day reading

Stack of reading: Two issues of Shifter (edited by Sreshta Rit Premnath and Avi Alpert); exhibition catalogues from Claude Tétot, Frédérique Lucien, Corinne Laroche; Pin the Tail on the Tiger–a Norte Maar publication featuring a collaboration between painter Jessica Weiss and poet Bob Holman; along with hot chocolate in my new Two Coats of Paint coffee mug. I’ll be shipping them out to contributors … read more… “Snow day reading”

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Marina Adams: Radically soft and optimistic

Contributed by by Danielle Wu / Given the influx of politically oriented exhibitions lately, “Soft Power,” Marina Adams’s solo at Salon 94 offers an ethereal mind space that provides relief from all the strain and strife. Wavy blocks of bright color, from lemony yellows to saltwater blues, nest together, embracing each other’s outlines. Standing in front of … read more… “Marina Adams: Radically soft and optimistic”

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In retrospect: Post-truth with David Brody and Elliot Green

Contributed by Luisa Caldwell and Matt Freedman / Back in December, the uncanny pushed its way into the room of exquisite landscape paintings by David Brody and Elliot Green. Uncanny, as in familiar but incongruous, has become attached to the persuasively surreal in contemporary practice; strange figurations usually, big babies, small grownups, appendages attached to architecture. It … read more… “In retrospect: Post-truth with David Brody and Elliot Green”

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