Quick study: Last chance, stories from a grad student, best film of 2012, College Art Association Conference

Last chance to see “Impressionism,” Matt Connors’s show at MoMA PS1. His paintings embrace and rethink all the physical tropes of abstraction, including oily pigment halos, AbEx scale, hard edge geometry, and Twombly-esque calligraphy, reformulating each in the artist’s own idiosyncratic, endearingly low-skilled way. The show closes today. Image at top: Matt Connors, Black/Blue, 2012, … read more… “Quick study: Last chance, stories from a grad student, best film of 2012, College Art Association Conference”

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Brian Dupont's square texts

  Working on hollow, square, aluminum beams, Brian Dupont paints snippets of found text such as passages from Beckett, Richard Serra’s verb list drawing, and narratives written by friends. Dupont’s small-scale wall objects, reminiscent of the controversial rusted steel facade of the nearby Barclays Center, have a worn, weathered look that speaks of struggle and … read more… “Brian Dupont's square texts”

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Quick study: Abstraction is Queen

Picasso Black and White at the Guggenheim includes loads of paintings I’ve never seen before–even in reproduction. Featuring large, unpainted swaths and urgent brushwork, the paintings look so fresh–as if they might have been made in a Bushwick studio yesterday. Some of the reclining figures from the 1960s reminded me of Philip Guston. Did they … read more… “Quick study: Abstraction is Queen”

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Past, present, future: Q&A with Miguel Carter-Fisher

JOE BUN KEO: Your work ties the past to the present. You’re dealing what is in front of you now, but you always find a way to link to what has happened before. How does the future fit into your approach to your painting? What about tomorrow? MIGUEL CARTER-FISHER: By blending the past and the … read more… “Past, present, future: Q&A with Miguel Carter-Fisher”

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Juliette Losq’s creature features

Stephanie Theodore wraps up her first year in Bushwick with Juliette Losq‘s  big, obsessive, post-industrial landscape paintings. In the weedy underbrush Losq toys with duality, inserting images within images that turn the isolated landscapes into both protective hollows and menacing dark domains. In Idiom, the online arts and culture magazine published by Barry Hoggard and … read more… “Juliette Losq’s creature features”

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Kevin Zucker: Fiction painter

At 11 Rivington and 195 Chrystie, Keven Zucker (American, b. 1976) presents views from hotel balconies. Reducing his photographic source material to diagonal lines of pastel-colored pixels that mimic driving rainstorms, Zucker makes inkjet prints and transfers them onto large-scale canvases. Defying their analytic origin, the images are surprisingly poignant. Keven Zucker. All images courtesy … read more… “Kevin Zucker: Fiction painter”

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Thoroughly observed: Q&A with J.D. Richey

JOE BUN KEO: Your work is fractured and fragmented, made of many smaller pieces. It’s like a puzzle. Do you paint in sections and then assemble the piece at the end? Or does the image grow organically as you work? J.D. RICHEY: I do not work on many pieces separately; rather, they grow and diminish until something … read more… “Thoroughly observed: Q&A with J.D. Richey”

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The Hirst reward: 420

The 128 participants who completed the Damien Hirst Spot Challenge earlier this year have finally received their reward. Arrested Motion reports that Hypothalamus Acetone Powder,  a 59 x 53 inch silkscreen print comprising 420 one-inch spots, each in a unique color, has arrived at their office. Hirst cynically titled the print after a discontinued chemical … read more… “The Hirst reward: 420”

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Quote of the Day: Walter Robinson

“I just can’t get into the radical masquerade that the art world is. That’s why I paint like I do. I’m not pretending to be some kind of avant-garde. I’m not trying to be inventive. I’m just making images. Like a sign painter. Anyway that’s the idea.” –Walter Robinson / excerpt from a 2012 interview … read more… “Quote of the Day: Walter Robinson”

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