ON FILM: Blonde on blondes

  Guest Contributor Jonathan Stevenson / In the watching, video artist Shannon Plumb’s debut feature Towheads, which MoMA screened last week and has wisely purchased for its permanent collection, comes across as Chaplin meets Cassavetes. Seemingly just for the sake of her two blonde boys, Penelope, a downcast blonde woman with an oblivious dark-haired husband … read more… “ON FILM: Blonde on blondes”

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Sarah Faux : Report from Yale

Guest Contributor Sarah Faux just completed her first semester in the Yale MFA program. She writes about the changes in her work and the diversity of approaches among the other students in the painting program. Image above: stacks of paintings lining the wall of her studio. —– I’ve been thinking about Freud’s idea of condensation: … read more… “Sarah Faux : Report from Yale”

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SURVEY: Bleaching, staining, and dyeing

Matthew J. Mahler, B T W #1[by the way], 2013, acrylic and dye on canvas, 36 x 40 inches. Courtesy of Sardine. In fall 2012, the flooding and devastation caused by Hurricane Sandy prompted me to think about processes like soaking and staining; in the studio I started to thin binder-and-pigment mixtures with water, pouring … read more… “SURVEY: Bleaching, staining, and dyeing”


Resolution and dissolution at once: Angelina Gualdoni at Asya Geisberg

Angelina Gualdoni, Eclipse, 2013, oil and acrylic on canvas, 31 x 24 inches. In her 2010 show at Asya Geisberg, Angelina Gualdoni‘s work was in transition. Her canvases featured thin veils of paint, pooled in diffuse, ethereal shapes that defied definitive interpretation. The colors melded together, creating light veils punctuated by smaller bits of paint, … read more… “Resolution and dissolution at once: Angelina Gualdoni at Asya Geisberg”

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But Mr. Cotter, most painters paint because they love painting

A couple days ago in the NYTimes, Holland Cotter, extremely agitated by the sorry state of the art world, ranted about the detrimental effect big money has had on art production, the lack of cultural diversity, the failure of art schools, the high rents, museums’ focus on the box office, conservative art criticism, and more. … read more… “But Mr. Cotter, most painters paint because they love painting”


ON FILM: Tornatore’s creepy art auctioneer in The Best Offer

Virgil Oldman (Geoffrey Rush) admiring his secret collection of ladies in Giuseppe Tornatore’s The Best Offer. Guest Contributor Jonathan Stevenson / In Giuseppe Tornatore’s The Best Offer, Geoffrey Rush, who never fails to ebulliently exude neurosis, plays Virgil Oldman – a high-end art auctioneer so learned and perspicacious that even his two-man operation apparently competes … read more… “ON FILM: Tornatore’s creepy art auctioneer in The Best Offer”

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Masking strategies: Residue in DC

At Adah Rose Gallery, Brooklyn artist and writer Brian Dupont has curated “Residue,” an exhibition that celebrates contemporary artists’ gleeful, unapologetic, and often imperfect use of masking tape. In his curator’s statement, Dupont explains: There is an old joke once told by gritty New York painters at the expense of their West-coast brethren. As it … read more… “Masking strategies: Residue in DC”


Idiosyncratic rule in Brooklyn

Two recommendations for Brooklyn gallery visits: At Outlet Fine Art, seasoned painter Hermine Ford continues her exploration of urban decay and renewal in quirky shaped canvases that depict fragments of floor tile mosaics. In the new work Ford begins to loosen up, combining a more gestural painting approach and larger scale shifts with the tighter, … read more… “Idiosyncratic rule in Brooklyn”

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Jane Kent: Unfolded forms, evocative shapes

Jane Kent, Blue Nose, 2013, silkscreen printed, 9 colors Somerset 26 3/8 × 18 1/2 inches. Printed/published Aspinwall Editions, ed. of 35 Jane Kent spent a couple week this summer at the Druckvereinigung Bentlage in Kloster Bentlage, Rheine, Germany and at Aspinwall Editions, NY, collaborating with Ann Aspinwall and Knut Willich. The buoyant silkscreen prints … read more… “Jane Kent: Unfolded forms, evocative shapes”

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Quick study: New Year’s edition with Honeycutt, Winkleman, Viveros-Fauné, Schor, Twitter, and Kohler

2014 is off to a good start. I just returned from Schenectady where I installed paintings (image above of installation in process) for “Blueprint,” a three-person exhibition at Union College curated by Brece Honeycutt. Inspired by Simon Mawer’s 2009 novel The Glass Room, the exhibition features work by Victoria Palermo, Peter Dudek, and me. The … read more… “Quick study: New Year’s edition with Honeycutt, Winkleman, Viveros-Fauné, Schor, Twitter, and Kohler”

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