Wednesday, December 09, 2015

Paint: Doig, Westerman, Walker, Ray, Maine + Ulterior Motif

Peter Doig at Werner, uptown.
Deep chromas, grid work, free paint handling and relationship of study to large work characterize this show. 

Studio portrait

Large version (small to follow shortly). Banded horizon. Textural shifts of black from figure to horse. Odd landscape-making boxes on the left. Magenta river.

Urban animal

Like Guston, Doig can handle an emerald green.

Small study of horseback, in another room.

Fishing study presented on easel with clamp light, best way to see the work.

The larger painting. Water below has a lot of color not absorbed by the  iPhone 4.

Strong, heavy paint then ethereal, scrubbed areas interacting.

At the incredible HC Westerman show at Venus over Mars, full of bite, pathos and political critique.

Not to mention solid, brilliant technical skill in all areas of 2- and 3d.
Here, Arizona, on the Navajo grounds I visited in 2013 while in residence at Wupatki National Monument. Could recognize the vibe and the space right away.

And here a different view, an allee brutishly drawn, elegantly colored. 

John Walker, Looking Out to Sea at Alexandre.

He establishes a landscape, and then starts to riff.

Pulling on the patterns of the African textiles he collects and reveres,

and using pattern to navigate the space.

On the LES, a new show by Eleanor Ray at Steven Harvey.

I'd not seen this work before. There were some real gems, this my favorite.

She worked at the Judd Foundation in Soho for some of the works. The relationship of geometry and brushwork recalls, in posting more than in presence, Morandi. A small world of shifting colors and planes...

Stephen Maine at the National Arts Club Marquis Gallery

Paint as print: opaque impasto overlays on transparent grounds.

The tufts of paint on the overlays catch the light and with the simultaneous contrast  of the colors, lead the eye to see blurs and vacillations

Close to, the added surprise of light density on darker transparency surprises the eye.

A well-curated show at the Painting Center: Ulterior Motif

Glenn Goldberg

Colin Thompson, Glenn Goldberg and Elisabeth Kley in an inspired combination

Hermine Ford

Anoka Faruqee's optical surface

One view: Ford, Faruqee and Fratkin

Scroll by David Fratkin

Jessica Weiss, a big wallpaper portrait

Stamping and collaging

Jill Levine - paint on sculptural form

Susan Wanklyn - egg tempera on board

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