|Chris Hood at Lyles & King, September|
|Jane Fine at Pierogi. Contents Under Pressurre. Detail.|
|In 2013, Jane Fine attended the Golden Paint residency, where she learned (or so it looks - don't really know) how to spray or airbrush glittery painted grounds before her signature mark making process.|
|In the tradition of Guston~|
|Detail, Dung of the Devil, 2015|
|Jane Fine, Dung of the Devil|
|Bobbie Oliver at Fred Valentine. Oliver's seemingly effortless acrylic paintings use water as their primary binder, but the substrates have a lovely texture that augments her pours.|
|Cy Twombly at MoMA|
|Lots of bare canvas and some impasto|
|Claes Oldenburg at MoMA - stuffed kapok lettering|
|Color falls like snow on a surface. Ron Nagle at Matthew Marks.|
|Here, an almost plaster-like texture on the grids by Rachel Khedoori at Hauser & Wirth uptown.|
|Her photos upstairs. Surfaces implied.|
|Jackie Saccoccio at Van Doren Waxter.|
|An effect a bit like Nagle, paint like dust, a la Jules Olitski's painting in air.|
|Mary Jones at 722 Projekt in the Lauren Comito-curated exhibition, Future Past Perfect. |
(Detail below next image. I tried).
Xray and silver leaf in compositional not to mention surface alchemy.
|Michael Ambron - more painting in air but earth bound. |
A brew of influences recast as landscape: Milton Resnick, Jules Olitski. I see Daniel Hesidence's work in relation to these.
|Mary Jones: detail. Paint, ink, silver leaf. These surfaces interest me in their collision of flatness and pictoriality.|
|A smaller Ambron|
Morandi at Zwirner. The king of surface: dancing brushstrokes on juicy neutral grounds.
|And for contrast, a finely worked intaglio etching.|