Catalogue essay: Raphael Rubinstein on Drew Shiflett

Raphael Rubinstein wrote the following essay,  “Eccentric Modularity,” on the occasion of Drew Shiflett’s elegant solo show of new collage pieces, on view through June 30, at Lesley Heller Workspace in New York. —— I wonder when the great variety of process entered the field of art. When did certain artists begin to invent their own … read more… “Catalogue essay: Raphael Rubinstein on Drew Shiflett”

Catalogue essay: Raphael Rubinstein on Gary Stephan

Raphael Rubinstein originally wrote this essay for Gary Stephan‘s solo exhibition, on view through April 23, 2016, at Susan Inglett. / Some paintings pick arguments with art history. Some paintings pick arguments with their materials. Some paintings pick arguments with the other paintings around them in the artist’s studio. Some paintings pick arguments with the … read more… “Catalogue essay: Raphael Rubinstein on Gary Stephan”

Raphael Rubinstein in conversation with Jonathan Lasker

When Raphael Rubinstein sat down with Jonathan Lasker at Cheim & Read, they discussed Lasker’s process, imagery, and his relationship to Abstract Expressionism and Action Painting. “The execution seems very conscious and constructed, and yet the origination of the works is an imaginative process…Things lead into other things, sometimes along the way. In the middle … read more… “Raphael Rubinstein in conversation with Jonathan Lasker”

Revisions and resurrections: “The Silo” curated by Raphael Rubinstein at Garth Greenan

Getting recognition in the art world is difficult, but remaining relevant over the course of a lifetime is nearly impossible. Raphael Rubinstein is fascinated by old art magazines from the 1960s and 1970s, where he finds images of work by artists who were once widely admired but have fallen off the art world’s radar. “I … read more… “Revisions and resurrections: “The Silo” curated by Raphael Rubinstein at Garth Greenan”

Raphael Rubinstein revisits Provisional Painting

Thank you, Art in America, for posting “Provisional Painting Part 2: To Rest Lightly on the Earth,” Raphael Rubinstein’s eagerly anticipated update to “Provisional Painting,” online this month.  Rubinstein takes a more experimental, philosophical approach, attempting to explain the why of provisional painting in nine numbered paragraphs and four interludes.   David Hammons, 2011 installation … read more… “Raphael Rubinstein revisits Provisional Painting”

Providence report: Baziotes, Green, Bostrom, Myoda, Rubinstein…

My Instagram and Twitter friends know that I’ve been spending time in Providence this semester, where, on Tuesdays and Thursdays, I’m teaching a course at Brown University about artists’ books–not the handbound, letterpress kind, but the type that are produced with digital tools and commercial printing processes. [Image above: One day I arrived to find … read more… “Providence report: Baziotes, Green, Bostrom, Myoda, Rubinstein…”

Quicktime: Fast, casual painting in Philadelphia

Contributed by Becky Huff Hunter / In his influential Art in America article “Provisional Painting” (2009), critic Raphael Rubinstein traced a history—from Joan Miró to Mary Heilmann—of “works that look casual, dashed-off, tentative, unfinished or self-cancelling,” that “constantly risk inconsequence or collapse.” In Rubinstein’s analysis, this attitude provides an easier yoke for artists tired of laboring … read more… “Quicktime: Fast, casual painting in Philadelphia”

A better bonfire at the Whitney: Painting from the 1980s

Contributed by Jonathan Stevenson / “Fast Forward: Painting from the 1980s,” the Whitney’s trenchant exhibition of American work, immediately recalls the Reagan era, when bluffness trumped irony and a turbocharged version of squareness – razor-sharp creases and collar bars, coke-fueled hostile takeovers, money in the service of comfort and status, strategic peremptoriness – shoved aside … read more… “A better bonfire at the Whitney: Painting from the 1980s”

Suzanne Joelson: How things change

In Suzanne Joelson‘s confrontational new paintings the conflicting forces of order and disruption animate a lively hash of vinyl photographic banners, paint, patterning, hollow-core wood panels, broken bits of debris, fabrics, geometric sequencing, and idiosyncratic markmaking. On the occasion of her solo show Studio 10 in Bushwick, Joelson met with painter Michele Araujo to talk about … read more… “Suzanne Joelson: How things change”