A 2010 Whitney Biennial biopsy

In their opening remarks on Tuesday, the 2010 Whitney Biennial curators Francesco Bonami and Gary Carrion-Murayari confessed that they approached the selection process (gasp) open-mindedly, without a preconceived theme. Fortunately, the exhibition itself faithfully reflects their intent, presenting a resonant sampling of contemporary art practice. That is not to say that the show selection is … read more… “A 2010 Whitney Biennial biopsy”

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The anti-disembodied

On view at the Whitney: Dawn Clements, “Mrs. Jessica Drummond’s (‘My Reputation,’ 1945), ” 2010, pen with ink on paper, 87.5 x 240.” Collection of the artist; courtesy Pierogi, New York In the February issue of The Brooklyn Rail, the ARTSEEN editors and advisory committee applaud Roberta Smith for the stand she takes in Post-Minimal … read more… “The anti-disembodied”

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Paul Corio: Well observed color in Brooklyn

  Paul Corio at 210 Gallery, installation views. At artcritical.com, Stephen Maine reports that the color in Paul Corio’s paintings is derived from the artist’s analysis of results at the Belmont and Aqueduct tracks, but all you really need to know is right before your eyes. Maine’s description of the pictorial language, particularly Corio’s use … read more… “Paul Corio: Well observed color in Brooklyn”

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Chris Barnard’s grinding metaphors

 Chris Barnard, “No Exit (Source of Friction: Unpredictable actions of other actors),” 2007, oil on canvas, 84 x 62″   Detail, “No Exit” In the LA Times Christopher Knight informs us that “Full Spectrum Dominance,” the title of Chris Barnard’s show of five recent paintings at Sam Lee Gallery, is the name of an American … read more… “Chris Barnard’s grinding metaphors”

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NY Times Art in Review: Silke Otto-Knapp

Silke Otto-Knapp, “Three Sisters,” 2009, watercolor and gouache on canvas, 39 1/2 x 51″ Silke Otto-Knapp, “Group (walking),” 2009, watercolor and gouache on canvas, 59 x 47 1/4″ SILKE OTTO-KNAPP: Interiors, Gavin Brown’s Enterprise, West Village. Through Saturday. Roberta Smith: Silke Otto-Knapp’s paintings often dwell on those marginalized by modernism, whether because they are women … read more… “NY Times Art in Review: Silke Otto-Knapp”

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In the attic: Abstract easel paintings from 1920-50

  Esphyr Slobodkina’s “Small Abstraction in Tans.” Photo: Slobodkina Foundation      Lidy Prati, “Concreto,” 1945   Rosa Acle The first exhibition to bring together South American and US geometric abstraction, Constructive Spirit: Abstract Art in South and North America, 1920s-50s features more than 90 works by 70 artists from Argentina, Brazil, the United States, … read more… “In the attic: Abstract easel paintings from 1920-50”

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The beautiful and bizarre, organic and toxic at Elizabeth Harris

The exhibition catalogue for Carolanna Parlato’s show at Elizabeth Harris.  Carolanna Parlato, “wind break,” 2009, acrylic on canvas, 40x 30” I just received the exhibition catalogue for “Vortical,” Carolanna Parlato’s exhibition at Elizabeth Harris. Here’s an excerpt from Charlotta Kotik’s perceptive essay.  “The very beginning of abstraction are associated with the deconstruction of landscape imagery. … read more… “The beautiful and bizarre, organic and toxic at Elizabeth Harris”

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Gahl and Berg @ Nudashank in Baltimore

Installation view    Ted Gahl, “Student.”    Tatiana Berg, “Division of Meat”    Tatiana Berg’s tents and paintings    Ted Gahl: Left- “Glitch 2 (Triscuit),” Right- “Domestic Scene (After Bonnard)” Nudashank Gallery, an independent, artist-run gallery space in Baltimore, Maryland, is approaching its one-year anniversary. Ted Gahl sent a lovely note yesterday telling me about … read more… “Gahl and Berg @ Nudashank in Baltimore”

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What I'm working on

Snapshots of work in progress. These paintings, photographed in my tiny attic work room, are oil on canvas, 30″ x 40.” Here’s what I told the University of Connecticut senior painting majors last night during a CAA-style presentation (notes, images, podium, and so forth) that covered painting, writing, blogging, and other ongoing activities. “…I prefer … read more… “What I'm working on”

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Painting discussions in Chicago today

  Paula Wilson, “Tomorrow’s Tomorrow,” 2008, 0il, spray paint, collaged/inlayed paper including woodblock prints mounted on paper, 50 x 50″ I’ve been hanging out in Chicago this week tweeting and posting (on my other blog @Bushwick&Main) from the College Art Association’s 2010 Annual Conference. Today, Faith Wilding, Dara Birnbaum and Amy Sillman are among the … read more… “Painting discussions in Chicago today”

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