Richard Aldrich on “progress”

The February issue of Art in America features a Ross Simonini interview with Richard Aldrich in which the artist discusses the notion of artistic progress. Here is an excerpt in which Aldrich deflates the traditional idea that an artist makes formal progress over the course of a lifetime, embracing a “stylist non-progression.” I agree completely. … read more… “Richard Aldrich on “progress””

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Small work: Brett Baker @ Elizabeth Harris

Brett Baker’s new small-scale paintings at Elizabeth Harris are a little bigger than the ones in his last show, and they continue his exploration of line, thickly layered paint, and color. Several years ago, when Baker moved from a good-sized studio to a small apartment in New York, he decided to apply the same effort … read more… “Small work: Brett Baker @ Elizabeth Harris”

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The Artist’s Statement: Thomas Micchelli

Thomas Micchelli, co-editor of Hyperallergic Weekend, has what looks like a fine solo show of paintings and drawings on view at John Davis through March 1. Two bodies of work are included in the exhibition–“Bacchantes,” an ongoing series of paintings and drawings, and “Bivalves,” a set of two-part drawings that were on display in a … read more… “The Artist’s Statement: Thomas Micchelli”

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Lux: Julian Kreimer

I recently got a note from Julian Kreimer, one of my former colleagues in the dynamic painting program at SUNY Purchase, who is about to complete an artist’s residency at Lux Art Institute, a Kunsthalle-type institution outside San Diego. Lux invites artists to work in residence, after which they mount a show that includes some … read more… “Lux: Julian Kreimer”

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Quick study: Goodbye art world, Tal R, Anselm Reyle’s fall, Hollywood agents, Lucy Lippard’s advice, and a rant about education

When twenty-somethings realize being a part of the the art world often means enduring a hard, poorly compensated, unfair existence, sometimes they decide to pursue other options. Sadly, this week Whitney Kimball announced that after writing for Art F City for four years, she is leaving the art world. Read the farewell letter in which … read more… “Quick study: Goodbye art world, Tal R, Anselm Reyle’s fall, Hollywood agents, Lucy Lippard’s advice, and a rant about education”

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Evelyn De Morgan: The Love Potion

Drawn to the style of the Pre-Raphaelite Brotherhood, Evelyn De Morgan was best known for tackling literary subjects and spiritual allegories. According to the De Morgan Foundation’s website, she was engaged in numerous political causes, including prison reform, pacifism and the Suffragette Movement. De Morgan’s later work was deeply affected by her interest in the … read more… “Evelyn De Morgan: The Love Potion”

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Two Coats at Sundance: Misery, ambition and the creative life

Guest contributor Jonathan Stevenson / Every January throngs of industry strivers and film buffs congregate in the snowy streets of Park City for the Sundance Film Festival to network, make distribution deals, and watch great independent movies before they reach local art houses. Of course, you roll the dice in choosing the films: however strong … read more… “Two Coats at Sundance: Misery, ambition and the creative life”

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Painting of the day: Mark Brosseau’s Viscous

Mark Brosseau, Viscous, 2014, medium: acrylic, flashe, and ink on canvas, 24 x 20 inches. About Mark Brosseau: Equally drawn to color, science, math, and emotion, Brosseau discovered art by way of chemistry and architecture. Born and raised in Lyndon, VT, Brosseau enrolled at Dartmouth College with the intention of pursuing a degree in chemistry, … read more… “Painting of the day: Mark Brosseau’s Viscous”

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Installation: Call and Response @ Gavin Brown

“Call and Response,” an enormous group show hung salon-style in the back gallery at Gavin Brown, includes many of the artists whose work comprises “The Forever Now,” but the work selected by Gavin Brown, in a context both more cogent and more expansive, seems genuinely of the moment. Some abstract paintings are included, but, for … read more… “Installation: Call and Response @ Gavin Brown”

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The archive: Jack Pierson’s billboard paintings

In the early days of digital imagery, the most challenging aspect of the new medium for artists was output. Back in the late 1990s, most labs were equipped with small printers (11 x 17 inches), but oversize prints that could compete with the scale of paintings were costly and the inks were not archival, fading … read more… “The archive: Jack Pierson’s billboard paintings”

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