|Katherine Bradford at CANADA|
In Hyperallergic, John Yau writes, "In her most recent work, Bradford has upped the stakes of her earlier work. For one thing, she has complicated her compositions by adding many more figures as well as dividing the ground in two or more distinct areas, water and sky, for example. The complications are the result of her pushing both the formal and imaginative further into a fictive domain without letting one get ahead of the other."
|The treatment of form as another mark in space unites the figures and their spaces, reminding us that in fact the human body is some 70% water.|
|Interestingly Bradford is using acrylic, which reinforces her images of water, though the multiple layers and swipes of thick paint summon her oil painting background.|
|Mernet Larsen at James Cohan. These are drawings in the back room. She describes her work in the Paris Review as, “old-fashioned narrative paintings ... statements of longing.” “What I use are these perspectival ploys—diverse perspective, parallel perspective,” she told The Huffington Post last year. “You’re always sort of moving around inside the painting; you can never quite figure out where you’re standing, so you kind of absorb it. Matisse does that too for me too. And a lot of Japanese art, from the twelfth century particularly. They bring you inside and outside the space, you have no particular position. You can't quite get your bearings. And yet, I want you to have a sense of orient, a sense of mass, a sense of depth.”|
|Larsen/COHAN exhibition Link.|
My favorite Larsen composition except for "Aw," (a reversed perspective faculty meeting).
|Larsen and I met at University of South Florida in 2003, her last year of teaching / my first. Around that time she photographed faculty meetings, from which these paint sketches are inspired.|
|The space holds mind-popping characteristics of Fred Sandback or Robert Irwin installations in a totally hands-on way.|
|A favorite detail from a family reunion. Arms really do that.|