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| A few weeks ago Raggedy Ann's Foot showed Kylie Heidenheimer's studio, much of the work of which is now on view at Galerie Gris, Hudson, NY. See the peonies inset by a wall of works from 2009 (and in the rear of the gallery, the new painting Flame). Hudson was redolent with peonies this week! |
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| as well as paintings... |
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| A new favorite. |
This week also brought a wonderful studio visit discussion with painter Beth Gilfilen. See her work here:
Gilfilen.
As well as the Jack Goldstein exhibition at the Jewish Museum. His late paintings, unfortunately not shown on the
Jewish Museum site, really have me thinking. A Cal Arts faculty member, Jack Goldstein was a lead participant in the
Pictures generation. His work reifies the term Pictures in the most
immediate way, literally transcribing media images via hired hands, including those of Ashley Bickerton's, within research-based work that sought to merge painting and technology. Its imagery carries profound resonance with digital culture and unnatural
disasters in the 'aughts, exemplified by images of explosions, lightning and fog. There is an interesting interview with one of his then-assistants that goes into some detail about how the paintings were made, and some of the books Goldstein read. That link is here:
About Jack Goldstein
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| Jane Corrigan's paintings in I Am The Magic Hand, Sikkema Jenkins & Co., curated by Josephine Halvorsen. |
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| Corrigan's paintings have the feeling of Goya's tapestry and chapel paintings. |
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| Pour of another order--Carmelle Safdie |
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| Lisa Milroy--these share spatial resonance with Alexi Worth's paintings, below--space like a photogram |
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| Tour de Force: "Between Two" by Paula Wilson made in collaboration with the Fabric Workshop and Museum: literally a fabric painting |
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| Allison Katz paintings on shelves by Liudvikas Buklys |
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| Jasper Johns-like profiles hover near the cabbages. There are 8 or so of these delicate, light-handed works. |
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| Alexi Worth at DC Moore |
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| The wine is painted like velvet |
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| A motif from the previous show in 2011 |
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| Weird, net-like imprints and some paintings are made on a transparent scrim |
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| New to Worth and a beautiful surprise. The image is painted on the transparent, net-like surface, which works like a Benday dot would have in Lichenstein's time...an organizing pattern that dissolves as much as coheres. |
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| At Luhrig Augustine, Philip Taaffe's screenprinted paintings. This one boasts a background fade and Op elements that keep working on the eye, more in person than in photo. |
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| Susan Bee at Accola Griefen. The full show can be viewed here: Accola Griefen |
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| There was a poetry reading at the time I was there, so focused on the portraits in the back room not the landscapes in the front room, where the crowd was gathered. Here, see the wrinkles of a bent arm form a pattern--funny |
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| A wonderful painting, my favorite in the show: a couple amidst animated atmosphere and a log-like, fabric-like couch...Bee, who traveled recently to Vienna, absorbed Klimt's wild patterns and the way they engulf his protagonists. |
Off to see David Gibson's curated show at Station Independent Projects, Pocket Utopia and Lesley Heller Workspace. Then time offline and away to paint. Happy Summer.
