Meet me at La Biennale di Venezia in June

Although I won’t be at Art Basel Miami this year, I’m going to Venice for the 53rd International Art Exhibition in June. The exhibition opens to the press on June 4, and, unlike recent incarnations which cleaved toward video and installation projects, 53 will embrace traditional media such as painting and drawing. Director Daniel Birnbaum … read more… “Meet me at La Biennale di Venezia in June”


St Louis: Max Cole and Eva Lundsager

In the St. Louis Post-Dispatch, art critic David Bonetti picks a couple of abstract shows in St. Louis. “Max Cole is a nonobjective painter; her work is determined by the components of its making: the linen surface, the acrylic medium, the pigment restricted to tones of black and white. The image — a composition of … read more… “St Louis: Max Cole and Eva Lundsager”

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Enrique Martínez Celaya: “Shiny paint makes me feel like I can’t breathe”

In the NY Times, Jori Finkel profiles Enrique Martínez Celaya, whose show recently opened in LA. “The questions he explores in painting (and in his related writings) belong to religion and philosophy: the meaning of life and death, the purpose of consciousness, and what it means to be good or do good. He is as … read more… “Enrique Martínez Celaya: “Shiny paint makes me feel like I can’t breathe””

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Questioning Canadian painting’s carte blanche

The Museum of Contemporary Canadian Art presents “Carte Blanche/Vol. 2: Painting,” a comprehensive survey of contemporary Canadian painting; at Toronto’s Power Plant, the RBC Canadian Painting Competition is underway. In the Globe and Mail, Sarah Milroy suggests that the idea of exhibitions limited exclusively to painting feels dated. “All-painting exhibitions seem, today, like hackneyed holdovers … read more… “Questioning Canadian painting’s carte blanche”


Carol Padberg’s type at Real Art Ways

In the Hartford Courant Roger Catlin reports that the newspaper world doesn’t pay too much attention to the fonts of type “that march our ideas along, line by line, day in and day out, in column inches. There’s little time to consider the spurs, tails and eyes of the letters: the neat little shoes of … read more… “Carol Padberg’s type at Real Art Ways”

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Terry Winters: Haltingly optimistic

In The Village Voice RC Baker writes that there’s something hard-fought and heartening about Terry Winters’s new paintings at Matthew Marks. “Chunks of intense color tumble and collide across garish or sooty or muddy matrices. Like our times, they’re fraught, complex, and scarred over, but also haltingly optimistic….In a 1992 Bomb magazine interview, Winters recalled … read more… “Terry Winters: Haltingly optimistic”


USA Painting Fellows: Barkley L. Hendricks and Rodney McMillian

Of 50 fellows selected for United States Artists Fellowships this year, only two are painters: Barkley L. Hendricks, and Rodney McMillian. According to Hamza Walker’s summary of the selection process, “there was unbridled zaniness, calculated zaniness, and garden-variety zaniness. There was no-punches-pulled politics, and there was formalism for formalism’s sake. Questions of race, gender, and … read more… “USA Painting Fellows: Barkley L. Hendricks and Rodney McMillian”

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Miquel Barcelo sees the world dripping toward the sky

Spanish painter Miquel Barcelo used over 100 tons of pigments from all over the world to make a 16,000-sqare-foot brightly-colored abstract painting for the United Nations offices in Geneva. “On a day of immense heat in the middle of the Sahel desert, I recall with vivacity the mirage of an image of the world dripping … read more… “Miquel Barcelo sees the world dripping toward the sky”

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Grace Hartigan is dead

In the Baltimore Sun Mary Carole McCauley reports that Grace Hartigan, 86, passed away Saturday after a long illness. “Grace Hartigan was adamant, even imperious about the arrangements for how she would be memorialized. And she will get her way, as Hartigan, a seminal figure in the U.S. art world and a longtime Baltimore resident, … read more… “Grace Hartigan is dead”

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Eyal Danieli: Helicopters, bombers and camouflage

Israeli-born, New York-based Eyal Danieli paints metaphors for aggression that explore the contradictory emotions of being both victim and victimizer. His show at Elizabeth Harris came down on the 8th, but I wanted to mention it nonetheless. In The Brooklyn Rail Tom Micchelli reports that the paintings’ “irresistible graphic sensuality pulls us in while their … read more… “Eyal Danieli: Helicopters, bombers and camouflage”

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