Wednesday, November 25, 2015


Chris Hood at Lyles & King, September

From gallery press release: "And then there's the fact that the whole thing is totally, literally backwards: Hood paints from the verso of the raw canvas, staining the pigment through to the front, so that the actual, real painted image isn’t even visible except as a shadow. Or really, what one would normally take as the actual, real image isn’t, since it’s superseded by the contingent stain. This distinction between intentional image and palimpsest gets folded over into a Möbius strip." 

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.

Rachel Khedoori.

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.

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