Raggedy Ann's Foot: Paint: Doig, Westerman, Walker, Ray, Maine + Ulterior Motif

Peter Doig at Werner, uptown. http://www.michaelwerner.com/exhibition/3832/information
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.
http://www.artnews.com/2015/11/06/h-c-westermann-see-america-first-at-venus-over-manhattan/

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.
http://www.alexandregallery.com/john-walker

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. http://www.shfap.com

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...