A big THANK YOU to our June sponsors

I would like to take a brief moment to thank this month’s sponsors. These are the organizations and companies that keep Two Coats of Paint publishing, so be sure to check them out!  Featured Advertisers Brooklyn Museum– GO is a community – curated open studio project. Artists across Brooklyn will open their studio doors, so that you … read more… “A big THANK YOU to our June sponsors”

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At Minus Space: Nothing is everything

In an elegant group show at Minus Space, “Neither Here nor There but Anywhere and Everywhere,” curator Matthew Deleget has selected work that looks visually simple, but each piece tells a deeper story about camouflage, subterfuge, and the act of making art. Rooted in stripped-down Minimalist aesthetics and the work of the 1960s French Supports/Surfaces … read more… “At Minus Space: Nothing is everything”

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Roberta Smith scolds curators for the dearth of contemporary painting shows in NYC museums

“Maybe it [painting] appears that way [dead] if you spend much time in New York City’s major museums, where large group shows of contemporary painting are breathtakingly rare, given how many curators are besotted with Conceptual Art and its many often-vibrant derivatives. These form a hegemony as dominant and one-sided as formalist abstraction ever was. … read more… “Roberta Smith scolds curators for the dearth of contemporary painting shows in NYC museums”

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The super-sizing of American art museums

In the NYTimes Robin Pogrebin writes about the problem with museum expansion, a topic I covered in “The Super-Sizing of American Art Museums,” an article published in The American Prospect in 2007. Unfortunately, the problems I anticipated five years ago during the museum expansion boom have arrived. Here’s an excerpt from my piece: American art … read more… “The super-sizing of American art museums”

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Edvard Munch’s damaged retina

An Edvard Munch exhibition opens at Tate Modern today. Curator Nicholas Cullinan writes on the Tate blog that the exhibition looks “beyond the clichés of Munch as an angst-ridden and brooding Nordic artist who painted scenes of isolation and trauma” to focus on the neglected aspects of his often radical work, particularly his use of … read more… “Edvard Munch’s damaged retina”

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Quick study: Twitter notes

Here are a few recent links from the Two Coats Twitter Feed. For readers unfamiliar with Twitter, “RT” indicates the item has been repeated, or “retweeted,” from someone else’s Twitter feed. — Doesn’t this sculpture look sort of like a Joshua Abelow character? http://bit.ly/OzRNzu — Chelsea block party on a Tuesday night in July w … read more… “Quick study: Twitter notes”

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Studio update: Bushwick paintings

I haven’t done a Studio Update post since I moved to the new studio in Bushwick, so if readers are interested in what I’ve been working on, check out Paul Behnke’s recent post. Paul, whom I met at the NurtureArt Benefit a couple years ago (I selected his painting), has a studio around the corner, … read more… “Studio update: Bushwick paintings”

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Amy Feldman: Practiced and rehearsed

If the imprecision in Todd Chilton’s work (discussed in the previous post) is the result of a slow, intuitive process, the drips and imprecision in Amy Feldman’s work, on view at Blackston through July, have become calculated gestures. Her punctuated, icon-like abstractions are derived from her drawing practice, and the same seemingly casual attitude is … read more… “Amy Feldman: Practiced and rehearsed”

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Todd Chilton: Determined imprecision

In the Gorky’s Granddaughter interview with Thomas Nozkowski that I posted last week, Nozkowski said he never uses tape or rulers to draw his lines because he believes that painters should work to their “level of performance.” I saw two shows this weekend that reminded me of this: Todd Chilton at Feature and Amy Feldman … read more… “Todd Chilton: Determined imprecision”

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Matthew Higgs rounds-up the everyday in non-representational art

Four years ago White Columns director Matthew Higgs’s proposal for the 6th Berlin Biennale considered the relationship between non-representational art and everyday life, but his submission was rejected in favor of Kathrin Rhomberg’s “what is waiting out there.”  Higgs has finally dusted off the original proposal and used it as the basis for “Everyday Abstract–Abstract … read more… “Matthew Higgs rounds-up the everyday in non-representational art”

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