Like “bruised flesh and dried blood, urine stains and sour milk”

 Marlene Dumas, “Under Construction,” 2009, oil on linen, 70 7/8 x 118 1/8 x 1″  Marlene Dumas, “Wall Wailing,” 2009, oil on linen, 70 7/8 x 118 1/8 x 1″  Marlene Dumas, “The Sleep of Reason,” 2009, oil on linen,  39 3/8 x 35 1/2 x 1″ In Time Out, Howard Halle reviews the Dumas … read more… “Like “bruised flesh and dried blood, urine stains and sour milk””

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#class demonstrated the unequivocal power of social media…but now what?

 “Collecting With Your Eye,  Not Your Ear,” discussion organized by Barry Hoggard and James Wagner. Image courtesy Winkleman Gallery. #class, a sprawling and innovative project at Winkleman Gallery in New York, closed last week. Artists William Powhida and Jennifer Dalton had turned the gallery into a “think tank” for guest artists, critics, academics, dealers, collectors, … read more… “#class demonstrated the unequivocal power of social media…but now what?”

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Roberta Smith on painting today

 “Fellow” by Leidy Churchman. Courtesy Horton Gallery. Untitled by Jakub Julian Ziolkowski. Courtesy the artist and Hauser & Wirth. Detail of “Urban Grid, Riffs on the Grid” by Frederick Hayes. In the NY Times, Roberta Smith, writes a short essay on the state of contemporary painting in which she suggests not  only that ranking art … read more… “Roberta Smith on painting today”

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Studio visit: Austin Thomas

Here are some images from a recent visit to Austin Thomas’s studio, where three-dimensional collages, text-based drawings, and handmade prints line the walls. Small-scale and composed of humble materials like graph paper, colored paper, and pencil, Thomas’s thought-provoking work exudes an understated anxiety tempered with wry humor. Working toward a solo show in September, Thomas, … read more… “Studio visit: Austin Thomas”

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Mark Grotjahn’s personal code

 Mark Grotjahn at Blum & Poe, installation view. Mark Grotjahn, “Untitled (Face R. Stripped 776),” 2008, oil on cardboard mounted on linen, 60-1 /2 x 50-1/4″ Mark Grotjahn, “Untitled (Red Yellow and Blue Face 821),” 2009, oil on cardboard mounted on linen, 95-1/4 x 72-3/4″ In the LA Weekly Christopher Miles reports that the images … read more… “Mark Grotjahn’s personal code”

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NYTimes Art in Review: Paschke, Hafif

 Ed Paschke at Gagosian, installation view. “Ed Paschke,” curated by his former studio assistant Jeff Koons. Gagosian Gallery, New York, NY. Through April 24. Ken Johnson reports: Imagine a phosphorescent underground peopled by pimps, strippers, hustlers, wrestlers, fetishists and other lavishly accessorized miscreants from the lower depths of American society. Though clearly derived from photographic … read more… “NYTimes Art in Review: Paschke, Hafif”

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Lucian Freud: Topless

Lucian Freud, working at night. Courtesy Centre George Pompidou Lucian Freud: L’Atelier at the Centre George Pompidou is based on the theme of the painter’s studio, which curator Cécile Debray posits as the crucial one for his body of work, and comprises some 50 large paintings produced from the 1940s to today. These are supplemented … read more… “Lucian Freud: Topless”

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Unbelievable: Nudes removed from city building in Connecticut town

 One of Roger Van Damme’s nudes–but not the one in the story. According to Channel 3, a painting of a nude figure hanging in Milford town hall was taken down after complaints that it was too racy for public display. Officials also took down other works that had been on display for decades. “There is … read more… “Unbelievable: Nudes removed from city building in Connecticut town”

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Julie Mehretu’s oceanic sweep

Installing Julie Mehretu’s mural at Goldman Sachs via Art21 on Vimeo. In the New Yorker this week Calvin Tompkins profiles Julie Mehretu. “Eighty feet long by twenty-three feet high, Julie Mehretu’s ‘Mural’ dominates the entrance lobby of Goldman Sachs’s new steel-and-glass office building in lower Manhattan. Hundreds of precisely defined abstract shapes in saturated colors—small … read more… “Julie Mehretu’s oceanic sweep”

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Dan Walsh: “Just enough humanity to keep formalist ossification at bay”

Dan Walsh at Paula Cooper, installation views. In Artforum, Michael Wilson reports that Dan Walsh’s artistic approach is so clear and careful that perhaps it’s better discussed in terms of gradual shifts than of sudden breakthroughs. “Working slowly through numerous variations on a few established themes, Walsh remains focused on geometric abstraction but invests it … read more… “Dan Walsh: “Just enough humanity to keep formalist ossification at bay””

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