![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQpfB3XruhzPnxRUF5lnmHpYZkP2wkT_iydvpr5YSXFedIPURLmlnPB80lSF4JLhRruy49zwurGMWwcPElJDfi5z_oFny5oThyphenhyphenZREIuhgDgA6ozu6rLzttgRUJGR6WETNLg_KG/s320/IMG_3985.JPG) |
Basquiat, using a similar opaque covering technique to Pollock and the early Frankenthaler, taken before the guard told me to stop photographing. Gagosian's Frankenthaler and Basquiat exhibitions are not to be missed. I do not have words for Frankenthaler, it pushes me to the studio--but in both exhibitions a relationship to Pollock and his surrealist floating script that both contained and floated above figures (as in She-Wolf) was surprisingly evident and informative.
Check Two Coats of Paint (listed right) for excellent coverage on Frankenthaler, including this approach. |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUUTWzNzOC-_UqaqqD-1tOZfoI3unbemUDB-PBR1Vetv-yOTDNdgvQN5__PqoIFidC81u1lHmhi2_el2AfKFJa2L8SLZv1H-v3TkqIG7RkS44V2MjolEk-FjC6SGsEAK2izCx_/s320/IMG_3986.jpg) |
Jim Lee, form a strong group show at Edward Thorp: Painting Advanced.
What on earth is this magical concoction? |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBmo3T5oObY63SHG38e9nBXYVMOD16Iu7hvHHYo16lDYjMheUprOuwdCqIQ88FkUKPP-dMhu8FoYTK1hQq5N0Fi-shMAdCf_AGZB351GU7VJwjylognA79QIOfc-puvjUlT4bW/s320/IMG_3987.JPG) |
Jim Lee, Detail |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnvSThJcCdtkPXengAXPOtAXjpdYLdxcXDEbK7JKcFU_-zNcyl1_ZjZCHY9PTZZ8pF2GkfABjUhAk0F2BXCdhDQU92xjGKl7l_iHlYMeWkIA-9m2br_odz3Y3sNYyITN6v7BCM/s320/IMG_3993.JPG) |
Andrew Spence, one of several, beautiful paintings that with an economy of means create bracing optical illusions. | |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSmq6wk8o5naJ238EcRijDL7_paIlR8EqPANMcitsbUVtlQZH393JFZ554MXMEHP2jIH4ZGmdQ-dilvxduFnTDaS0d_bwMmXc6rVwC4EN6TE_o80Y9ixljlWd4S7o9T3Rxt58p/s320/IMG_3994.JPG) |
Andrea Belag's sweeping gestures evoking spaces of the mind.
Edward Thorp's site has lovely images of these paintings. |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjCT8-BKWvM_90hFSUM1oPaXCUN5cW0xfwEgdOgJrVRaUi3PgPV8NS4W5pDz4XV9qGNqpvpROix69clvU0AWiHIDPiEBIfyVFqkwZmsAMp-m3w-d-Zwpf75TKwClLyBwhdiY72/s320/IMG_3990.JPG) |
Belag |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgHlH_8RKd3wvcCdnIao7-6bUrghhd2gNjH-fHjuUaDgYMERCUN2NnBaC5lqcLw6-3STc_ctt79Pu6zy9wP-TGfZEHtlXQq__sYohmgVRJlJRyv8m70hf9JUdPvCYlvTIXTf6m/s320/IMG_3995.jpg) |
Rachel Malin, an artist new to me. Her work initially recalls Amy Feldman's. |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX6TX2sieWdt3D30oenGp2TPcRCpOdxD4RYeU7MUkyARjUZ3oIqvxcWS77_kOeGJUxpSmm5jtmg4kqiErg7wToajMgCcQnE8vMCpby1hug7TOw6I2q2pYRC_CS74mg04RiX747/s320/IMG_3996.jpg) |
This is a particularly wonderful Malin, two systems merging as one. In Thorp's front room, to left. |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYqGvfnCiPHs7cJ9NkP1GhAbuzRQvZaAO-1Yw1xdXnhu6hZFa1rK44N5Uc9RPdQEmfgnM1b-u1x0PqjHrt5GOupGtzzRyvqHdyE8qA1Px-OweH_BQKu4qRDD5nK8Ly5nDRMqCU/s320/IMG_3997.JPG) |
Gary Stephan. Clear, direct latticework of the brush--makes you feel it through your body. |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjamrywMR-OvuCVg6Hg3JNHE23TwlmQWJ8oItUjguUyUcu-7k8IonSzPbCWJ4rbejCVaUACbDi-ClihDxFToxBhIokxjMwVTotnpbSbq5pZWnEWF7knsBWB4DPWi3NJsyOPhX7B/s320/IMG_4002.JPG) |
Al Held at Cheim and Read. The sheer scale of this work is invigorating, also vertiginous. |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgseSxRWIiFVXkQIW5p6yuUvvsRw_Kie0OGaAxC47eOFngHxv8_JUQ1LRCJaclfKOlerHOP7cTFpt9v8qKZ1qhRlRKaChEYYpiNOAhwdzCwdhJYZQN7wsPjib0lFLlToClLf6QQ/s320/IMG_4003.JPG) |
The abundance of paint and odd cropping of letter forms feel immediate and germane. |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4RWBkvch_60Z01faHkLTJ_9CKNLFYzocV5f1W3pmzTUSf1kGQdYoWVgZTaqLLgShabsQSN14zNCIYF6SLG5BRG81DOPNdzt3XflYgoI-mrGTKPDg7D-xMKtBYvhOipfCEiLG-/s320/IMG_4007.JPG) |
Susanna Heller at Magnan Metz. Drawings show her process of building mark to evolve images. |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9bYWNqkmE-5kSv5D5_E2S-5ej2XFMx_6hYjnNijxo7vQuP-LDKwEIzbGenR6xABpTtzTwvE7rB6ZpRzPcLmB3CcfwVO0uhOtI8AFgz_i05Z5jKd-tHJwOkGvzvtiHzcupBpCp/s320/IMG_4010.JPG) |
Susanna Heller, painting from her show Phantom Pain, which she identifies not only as an
affliction suffered by her husband, but also society in general. |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzjrS-K6kjP0tZq9vzcG8lyhgEwoQIvwny66IMHkGtdHk7jiKSG_P9Ye7NVYd7Dzb_skvSdQmN1wwMDhscCHrQMjyuno-lj501VQ5PjsxzSZlsZR4Py133-F9VHcqBSjbs8rRq/s320/IMG_4009.JPG) |
Walls of drawings: hospital drawings and .... |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjidgVgq7dV0CajMLyHRD6L23MsLYXZkpOubLKYuaxBBW2hTcWYYW_RM-Jtou2M6qPL98Md2LpnwL0eA6cay_JdaG53yPTb1KWoajx9w3fG9kaku32w6FdVXNgZyQAzhedtr3xI/s320/IMG_4012.jpg) |
Landscape drawings. |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeph6iw65SPoLHbqGyLIrakVzdVFhLWpgGvZ0vKcFqrEXLBewdOeQzy_I_kvtPs5otckyAta2sjDdij4DyfVSTn32nCkU03nPwEyPRMps7bi2dlnxIZVMW4bAReuEsQigarqTC/s320/IMG_4011.JPG) |
There is a beautiful article by Oliver Sacks in the NY Review of Books on hallucination,
which speaks about phantom pain. |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqfG7pWuniTEZdBb5y6AphSFnjl03k227kLAS38Ce8KARx2vwcp_IdgsVMAUj88UFO_XXkTlxwkgYB2K1z4VPm4Zu2U82yPeqL3623B7E_s4IHOJtVqPXkKICgRL6HrKj4kkWc/s320/IMG_4018.JPG) |
The hand reveals the anguish as well of the joy of being alive. |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVsjSTE1RJIFWTgYqYjSEq-E4KoXYmtb3UxP_fdm4wlLNPKPAEvZTnZPyLeK_nnCo1we5LPAJ4eCV6BU1J3qQolEFCChJgElbhjT-BNqZjv13Vvm1sFLM24w0AsEMYuNzylf_g/s320/IMG_4013.JPG) |
Surface detail. |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOAfTLnPIibGv6aMPEcqChDZgjALghcpEH1zUDLRFcZ9ug1KOh2KCQycr085k__ZKo2AuypoPgaQrhFJNNNlAtttZXTkx4VRPOrFksVVL1FdTEAi_NjoSAKvwcZVJRVjbHwzw5/s320/IMG_4015.JPG) |
Heller has said she puts paint down, like a step on the ground (she is an avid walker, logging huge distances across the city) |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwrHnQuw1WOZ4tnenOY3GlYAa6ZgGAuFJ0BXpeXy5S49vOs-KxgpFkJSAN8DkDUjBSZKHnIe1FzBt-uaZtR40vLy52oI3lsZRFOkeOZQyraxVSfeLlRiG5pZo4FFEyp7Topy-8/s320/IMG_4025.JPG) |
Behind the desk at Magnan Metz. Susanna Heller: a beautiful show.
This painting is a small summary of the acuteness that resides in fully present experience. |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs4t1IC71klZmpQPrCZMhR4cJYECiPeLk-u9uQwJSE9sRRt09heWNVkpNI_1BX8ZL5AA6mygJDSmwjAGoAXs3PUIdo67XI8KsDRr3h9e-SN5DU6Tt9GbcVU1QD724Sid1e5BvT/s320/IMG_4028.JPG) |
Barkley Hendricks at Jack Shainman, his first with the gallery.
I saw his epic exhibition at the Studio Museum in Harlem, in 2008.
What a shape-maker! Crazy compositions, inspired by the Italian Baroque. |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyvzTlzF37cNhZaDBusSiQFuTBNY1ve_SkvmqvMSXM8IB2OBvW-qaMO8jFeLHO7t6_wwQa-nk6MBObBZI6P3OdEB6-fk5DgVAy-vbOpFsHXpjLm7kxCkSyWm93qLrODoCatktK/s320/IMG_4033.jpg) |
For some time, Hendricks has focused on Jamaican and other landscapes where he travels and paints.
The newer, figurative works as above, reveals a shift in technique from the earlier figure paintings. |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUIwD5WV72E4URp8hjCF1_Cgno-SJFSvZuLb0Uki1uvTu3yWgwH2o-sPwvpxXgWx6mUeihVoZLYbuE9x23XIcxWpJgz9N7LL005ANH0AyZXmZZo2P_2ePBsTUQAOWRGNxW3lSJ/s320/IMG_4036.JPG) |
Hendrick's love for shoeswas also apparent in the Studio Museum show. |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgycCgMU5HRZdj6mbV5ujFEmyWtOx9utyXUpf_4RGylentsnnfE0DEJFQoz0AmDB6YNQ4v3-ADillCGgKREixjZyXSXhej0veLVVUkTsUeYvlgYKBKuyJJAW4AFZGrEbNOvsxL3/s320/IMG_4034.jpg) |
The figures appear less clarified, more scumbled as a result of increased use of a heavier,
gloss medium, but the love of local detail carries through. |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUUZ6G_L2gkDVtL6QMfNbTZkZ1Q2neYSorbCRRLclQtlxbgAk2IXQjCcEOH2RVz6J-nGp04812ubsxRlGU206vvSiT_NbWj3LmJZC8DVvYXAq28JM0xUN56aWKtJAHqf3aa88L/s320/IMG_4035.JPG) |
Detail--Hendricks can be so precise. |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy9L-Jl-3sxnosDK8L7WZfQYUkNzOD_wFxBlJmpk_RVxItEZNwJmJ-oXG0cgR0ZBb0NekY7eTFbOW5S8iivksgXkOqbeLYW2Tfb7mUxaSDAuGxamoc3UiuBZBAfUlMzzqXlsNb/s320/IMG_4030.JPG) |
Barkley Hendricks Landscape |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxOPh9EesxIkqC6K8J4E7KxFXIsLwpMpjt86z24Px3mE5oykuVb7XGXcGNr-f1pXgk8BhpHtvMXLyy_XlWJOY4FX5HbKLESLoUJmsHZZcGTr9ayiDtGycIMGJllT2UuBIjebjZ/s320/IMG_4032.JPG) |
Their basic shapes contain more paint handling and detail than one initially imagines. |
Hastening to see Frankenthaler on 20th St., I missed Mary Jones' compelling paintings in her studio exhibition on 26th St., documented here:
maryjonesstudio.blogspot.com. I've known and admired Mary's work for years, since we first met in Los Angeles I don't even remember when. Mary Jones has long been a great abstract painter, her approach filled with buoyancy and edge.I'll never forget her work in the show
Baroque Geometry in 1988-9 at Marlborough Chelsea with Dona Nelson, Karin Davie, Stephen Ellis, Judith Hudson and Stephen Mueller.
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqy-fSTHMU1hz2COC608T879ZsWKmadnEEWgDMw0tDBzZQEQVx3WtRK1Dg5aVyb28emibWI32yAVc4YR9rhW9VvXmwizRKa4nFJLMqtK8AO70R2ZTyQcjOVzMoRA3nyYTY6XQe/s320/Screen+Shot+2013-04-02+at+1.09.11+PM.png) |
Mary Jones. Front Porch Dreamer, 2012. oil, feathered wallpaper, spray enamel on canvas, 11 x 14 inches. |
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwef7wZsyoJ100cZY-QRgl6AqqAoMLcb460D7_HI4aJK2t1faryBQ9SEFHTYMNeIrD7lcs44hfR-N_jPfxaCJ_cTHOHBA1ifyX2ekvOrC3ZPVJo0ZhD0ylKbMfGHa90f5r5X6Q/s320/Screen+Shot+2013-04-02+at+1.05.04+PM.png) |
Another Mary Jones, 2012, with Swarkovsky crystals, roughly the same size as above. Wish I'd seen these. |
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