Quick Study: Enough already, what’s next, a new painting blog and more

Who knew painting (and art writing) still had the power to evoke such outrage? Some artists and writers, unhappy with the provisional and casualist approach that I’ve been observing for the past few years, have been wondering why this type of work has gotten so much ink and pixels. Abstract Critical, a UK publication that … read more… “Quick Study: Enough already, what’s next, a new painting blog and more”

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The Casualist tendency

This essay, which builds upon an essay about contemporary abstract painting that I wrote for The Brooklyn Rail in 2011, was just published in the January/February 2014 issue of Christie’s Magazine. —– Contributed by Sharon Butler / A few years ago, having operated safely within traditional painting strictures for decades, I found myself embracing a paradoxically purposeful … read more… “The Casualist tendency”

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Dustin Hodges: Rational bluff

In his first solo show, at Miguel Abreu, 2012 Bard MFA grad Dustin Hodges presents a series of compelling architectural drawings, some gestural paintings of houseplants, an architectural model made of Styrofoam, and a kiosk constructed from stretched canvases. At the entrance of the gallery, a large piece (I hesitate to call it a painting), … read more… “Dustin Hodges: Rational bluff”

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Architecture as muse at Union College

If readers are up near Union College in Schenectady, NY, please check out “blueprint,” a three person exhibition in The Atrium Gallery curated by Brece Honeycutt, artist and writer of the terrific blog on a colonial farm. In her blog, Honeycutt chronicles life on her colonial-era farm in western Massachusetts, researching and imagining what life … read more… “Architecture as muse at Union College”

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QUOTE: Hudson on looking at art

“The first thing is to be quiet. I drop my agenda or expectations, and listen. Then I soften my gaze. The eyes are aggressive, and once you realize they are out there hunting, you can learn to tune them down, and let what is out there come to you. The body knows things way before … read more… “QUOTE: Hudson on looking at art”

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Vancouver Report: Lyse Lemieux at Republic Gallery

 Guest Contributor Dion Kliner (Vancouver, BC)  /  John Singer Sargent enigmatically said, “A portrait is a painting with a little something wrong about the mouth.” Was he simply making a neutral observation, or was he talking about their relative value as art? Was it that a portrait is a slightly degraded form of art from … read more… “Vancouver Report: Lyse Lemieux at Republic Gallery”

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Young painters in the secondary market: “Chewed up and spit out”

  Last week Ed Winkleman brought to my attention an article by Bloomberg arts reporter Katya Kazakina who suggested that a new breed of speculator collector is out there, buying and flipping work, primarily by male artists under the age of 35. [Image:  Eddie Peake, Crushingly Hopeless. 2013; lacquered spray paint on polished stainless steel; … read more… “Young painters in the secondary market: “Chewed up and spit out””

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Halvorson and Hawkins: Two kinds of cool

One kind of cool is no-nonsense virtuoso paint-handling that calmly vivifies the world as it slowly turns, of the kind on display in Josephine Halvorson’s exhibition “Facings” at Sikkema Jenkins. At Zach Feuer, Stuart Hawkins thinks more broadly, coolly considering the artificial interface that consumer culture has imposed between us and the simpler life. [Image … read more… “Halvorson and Hawkins: Two kinds of cool”

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EMAIL: Judith Braun’s fingertips propel Kelly Clark to snowboarding bronze

Judith Braun writes this morning: OK, so all I did was design the snowboard that KELLY CLARK won her OLYMPIC BRONZE on! …but I am bursting with pride anyway. So I’m sharing this widely with friends and family because to my surprise (what-do-I-know) many people either love to snowboard, used to snowboard, dream of snowboarding, … read more… “EMAIL: Judith Braun’s fingertips propel Kelly Clark to snowboarding bronze”

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Last chance: Ingrid Calame’s elegy to old America

In an increasingly digital and virtual time, Ingrid Calame’s utilization of a centuries-old technique to celebrate tar, pavement, rubber, steel, and high-octane gasoline is like a breath of exquisitely polluted air. Introduced by vividly colored paintings of tarred-over pavement cracks, the centerpiece of Ingrid Calame’s inventive and absorbing show “Tracks” at James Cohan Gallery is … read more… “Last chance: Ingrid Calame’s elegy to old America”

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