Sharkforum Link - David Reed's Liquid Rubens in Las Vegas
A must-read.
Monday, May 21, 2012
Bushwick Sunday
Two Coats of Paint (See link)
and Raggedy Ann's Foot had the same idea: a Bushwick Sunday. Raggedy Ann's Foot ventured late, after 5 PM in time to catch Carol Salmonson and Stephen Truax's shows at STOREFRONT
Bushwick (See link) and Kristin Jensen's Norte Maar exhibition (See link).
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| Norte Maar hosted a salon from 4 to 6 PM, where vinyl 45s were played by an utterly devoted, high-spirited DJ,whose name I do not know. When was the last time you saw a Ricky Nelson 45, or Paul McCartney's RAM? Amazing. Here, she is seen in action, with Kristin Jensen's installation It's Nobody's Fault. Scroll down for more Jensen. |
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| Carol Salmanson at STOREFRONT. LED lights overtake day- and gallery light. |
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| Salmanson, from close to- surrealist bas-relief |
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| Salmanson: gouaches related to the LED works. |
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| Truax: lightly penciled grids on stretched w/c paper able to hold the translucence of scraped gouache and watercolor. |
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| Kristin Jensen, It's Nobody's Fault - sumptuous metals inside tiny, porcelain scholars rocks |
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| An overexposed view of a portion of Jensen's tabletop installation |
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| The texture of one of her celadon glazes |
Sunday, May 20, 2012
A Logic All Its Own
There's been lots of chat about Katherine Bradford's show at Edward Thorp for excellent reason, and I feel lucky to have seen it before it closed. Below, three images: a conflagration of paint and subject, immersed in a private logic of formation that brings to this mind, the magic of counting, marking and revisiting a canvas.
Katherine Bradford Exhibition link
Katherine Bradford Exhibition link
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| Katherine Bradford: two ways to demarcate a space in parenthesis of color |
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| Who doesn't count? Who wouldn't count their way through a painting? |
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| One of many examples of the touch of a loaded brush doing two things at once: demarcating form, and evolving atmosphere |
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| Heading back home down Fulton St. in Bed-Stuy: the door to Bedford Avenue Family Daycare. Marks on a surface: not as interior as Bradford's, but the placement is a joy. |
Spring on the LES
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| Villon, from a gorgeous show of prints at Pocket Utopia | Pocket Utopia link |
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| Is this Allison Schulnick? Downstairs at Dodge Gallery, from the very talented curator, Janet Phelps' Twisted Sister exhibition Link to Twisted Sister at Dodge |
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| Julie Heffernan, Twisted Sister - an earlier work |
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| Chantal Joffe at Twisted Sister, Dodge Gallery |
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| Summer Wheat (I believe), Twisted Sister, Dodge Gallery |
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| A perfect world: Judith Linhares, Twisted Sister at Dodge |
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| Lorna Williams, a vagina dentata sculpture seen from above at an angle: Twisted Sister |
Thick and Thin in Chelsea
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| Dana Schutz - a centerpiece painting at Petzel |
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| Detail, reminiscent in some ways of Malcom Morley, though smoother facture. |
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| Piano in the Rain - staccato beats of mark and melody. |
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| A beautiful show curated by Barbara Takenaga at DC Moore: l to r: Carrie Moyer, Jane South, Sarah Walker |
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| Tom Burkhardt at DC Moore |
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| Burkardt, closeup (paint on molded plastic) |
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| Jutta Koether at Bortolami - the floor is gravel, in the deeper tones of the paintings |
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| Jutta Koether at Bortolami |
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| Koetter, detail |
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| Chuck Webster at Ziehersmith - a little gem of a painting |
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| Webster, side view--lots of prep with paint sliding to the finish |
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| Lots of Dunham in this show, thick version |
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| Chuck Webster |
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| Jan Muller at Lori Bookstein |
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| Jan Muller at Lori Bookstein |
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| Jan Muller at Lori Bookstein |
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| Muller detail - flying figures, green faces, halos, rainbows! |
Sunday, May 13, 2012
Back from Miami...
De La Cruz Collection Link
Miami and Beijing possess an abundance of private museum spaces.
The De La Cruz Collection, which focuses on sculpture, is truly gorgeous.
Miami and Beijing possess an abundance of private museum spaces.
The De La Cruz Collection, which focuses on sculpture, is truly gorgeous.
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| Sterling Ruby, from the fall duo with Lucio Fontana at Andrea Rosen (link: http://www.andrearosengallery.com/exhibitions/2011_9_sterling-rubylucio-fontana/#) |
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| Sterling Ruby, stalagmite and cloth painting He was a TA for Mike Kelley at Art Center |
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| Thomas Houseago, rear view (Houseago lives LA, as does Ruby) |
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| John Pylypchuck (also lives in LA) The clock on the wall piece is shaped like a head |
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| Beautiful, long tears |
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| The bedraggled aesthetic, seen close to-- Reminiscent of Kelley's stuffed animal works and the 1990s discussion on abjection: a way to integrate the more vulnerable parts of the self. |
Monday, May 07, 2012
If you're in Miami, please Join Me Friday Night May 11th, 6-9
http://www.dorschgallery.com
I'm excited for this show, to see Miami and reconnect with people there and to see my new paintings in the space. I'm also looking forward to exhibiting with Felecia Chizuko Carlisle and Michelle Weinberg. More and more the paintings feel like drawing, if one allows pours or flat, shaded areas to function as mark. There are drawings as well, which imagery repeats sometimes in the paintings. If you're in Miami, please come by and check it out.
Preparing for a show is a sentimental process-I've taken to holding a canvas or two back as a continuation of the process and thinking that informs this group of work. It synthesizes many ideas in the last few years: pinstriped mountains, pattern, pours and Indian as well as Chinese brush techniques. At first I thought about landscapes like above, relatively straightforward pathways through space, but I got excited about constructing space from projected marks, and soon enough there were trees, mountains, a moon, more pattern.
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| Incomplete Screen Capture, Dorsch Gallery Website |
I'm excited for this show, to see Miami and reconnect with people there and to see my new paintings in the space. I'm also looking forward to exhibiting with Felecia Chizuko Carlisle and Michelle Weinberg. More and more the paintings feel like drawing, if one allows pours or flat, shaded areas to function as mark. There are drawings as well, which imagery repeats sometimes in the paintings. If you're in Miami, please come by and check it out.
Preparing for a show is a sentimental process-I've taken to holding a canvas or two back as a continuation of the process and thinking that informs this group of work. It synthesizes many ideas in the last few years: pinstriped mountains, pattern, pours and Indian as well as Chinese brush techniques. At first I thought about landscapes like above, relatively straightforward pathways through space, but I got excited about constructing space from projected marks, and soon enough there were trees, mountains, a moon, more pattern.