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).
 | ||
| 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. |
 |
| Carol Salmanson at STOREFRONT. LED lights overtake day- and gallery light. |
 |
| Salmanson, from close to- surrealist bas-relief |
 |
| Salmanson: gouaches related to the LED works. |
 |
| Truax: lightly penciled grids on stretched w/c paper able to hold the translucence of scraped gouache and watercolor. |
 |
| Kristin Jensen, It's Nobody's Fault - sumptuous metals inside tiny, porcelain scholars rocks |
 |
| An overexposed view of a portion of Jensen's tabletop installation |
 |
| 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
 |
| Katherine Bradford: two ways to demarcate a space in parenthesis of color |
 |
| Who doesn't count? Who wouldn't count their way through a painting? |
 |
| One of many examples of the touch of a loaded brush doing two things at once: demarcating form, and evolving atmosphere |
 |
| 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
 | |
| Villon, from a gorgeous show of prints at Pocket Utopia | Pocket Utopia link |
 |
| Is this Allison Schulnick? Downstairs at Dodge Gallery, from the very talented curator, Janet Phelps' Twisted Sister exhibition Link to Twisted Sister at Dodge |
 |
| Julie Heffernan, Twisted Sister - an earlier work |
 |
| Chantal Joffe at Twisted Sister, Dodge Gallery |
 |
| Summer Wheat (I believe), Twisted Sister, Dodge Gallery |
 |
| A perfect world: Judith Linhares, Twisted Sister at Dodge |
 | |
| Lorna Williams, a vagina dentata sculpture seen from above at an angle: Twisted Sister |
Thick and Thin in Chelsea
 | |||
| Dana Schutz - a centerpiece painting at Petzel |
 | |
| Detail, reminiscent in some ways of Malcom Morley, though smoother facture. |
 |
| Piano in the Rain - staccato beats of mark and melody. |
 |
| A beautiful show curated by Barbara Takenaga at DC Moore: l to r: Carrie Moyer, Jane South, Sarah Walker |
 |
| Tom Burkhardt at DC Moore |
 |
| Burkardt, closeup (paint on molded plastic) |
 |
| Jutta Koether at Bortolami - the floor is gravel, in the deeper tones of the paintings |
 |
| Jutta Koether at Bortolami |
 |
| Koetter, detail |
 |
| Chuck Webster at Ziehersmith - a little gem of a painting |
 |
| Webster, side view--lots of prep with paint sliding to the finish |
 |
| Lots of Dunham in this show, thick version |
 |
| Chuck Webster |
 |
| Jan Muller at Lori Bookstein |
 |
| Jan Muller at Lori Bookstein |
 |
| Jan Muller at Lori Bookstein |
 | ||
| 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.
 | |||||||
| Sterling Ruby, from the fall duo with Lucio Fontana at Andrea Rosen (link: http://www.andrearosengallery.com/exhibitions/2011_9_sterling-rubylucio-fontana/#) |
 |
| Sterling Ruby, stalagmite and cloth painting He was a TA for Mike Kelley at Art Center |
 | |
| Thomas Houseago, rear view (Houseago lives LA, as does Ruby) |
 | |
| John Pylypchuck (also lives in LA) The clock on the wall piece is shaped like a head |
 |
| Beautiful, long tears |
 | |
| 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.
 | ||
| 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.
Sunday, April 29, 2012
Pie in the Sky When You Die
Thomas Miccelli at Hyperallergic magazine
Thomas Miccelli's article (linked above) proposes that performance works are more highly valued than art objects, as the embodied encounter of a performer and audience member carries more psychic weight/exchange value than the art object's presence. This is one of many issues raised in the article, the result of a recent survey of artists and their earnings conducted by artist William Powhida.
It's no myth artists make art for the pure love of it; that's what keeps an artist working. Yet, there is a perception that support wouldn't, or perhaps shouldn't matter, as the artist would keep working. It's also no myth that without support it does become more difficult for an artist to continue. This is where the day job comes in, or whatever strategies the artist adopts to survive. The issue of sustenance, from Rubens' business acumen to Van Gogh's reliance on his brother, proposes an interesting discussion on the value of art and artists now.
A Dangerous Method, Cronenberg's recent film on Freud and Jung, recaptures the modernist ideal of an individual practitioner (Freud) who passes the torch of tradition to his metaphoric son, Jung. Their analysands bore witness in a reciprocal, if uneven, relationship. Does the advent of technology--film, gaming, performance, collectives, with their democratic ability to engage large groups of people as participants, alter the value of privileged, one-on-one communication and art objects?
Enjoy the read!
Thomas Miccelli at Hyperallergic magazine
Thomas Miccelli's article (linked above) proposes that performance works are more highly valued than art objects, as the embodied encounter of a performer and audience member carries more psychic weight/exchange value than the art object's presence. This is one of many issues raised in the article, the result of a recent survey of artists and their earnings conducted by artist William Powhida.
It's no myth artists make art for the pure love of it; that's what keeps an artist working. Yet, there is a perception that support wouldn't, or perhaps shouldn't matter, as the artist would keep working. It's also no myth that without support it does become more difficult for an artist to continue. This is where the day job comes in, or whatever strategies the artist adopts to survive. The issue of sustenance, from Rubens' business acumen to Van Gogh's reliance on his brother, proposes an interesting discussion on the value of art and artists now.
A Dangerous Method, Cronenberg's recent film on Freud and Jung, recaptures the modernist ideal of an individual practitioner (Freud) who passes the torch of tradition to his metaphoric son, Jung. Their analysands bore witness in a reciprocal, if uneven, relationship. Does the advent of technology--film, gaming, performance, collectives, with their democratic ability to engage large groups of people as participants, alter the value of privileged, one-on-one communication and art objects?
Enjoy the read!
Sunday, April 22, 2012
Walk With Me
Dorsch Gallery
Making paintings for Walk With Me, which opens May 11th, I ponder the fluctuating intake of an actual walk and what that's like, versus the speed of projected imagery. Painting is the way to slow images down. In the studio, a walk is reconstituted through the gesture, texture and color rhythms in painting. This may sound formal yet is anything but, as hours spent painting infuse the body with images and memories, like an extended stroll through time. Reducing a construction shed to the barest notational markings, or flipping perspective into a topographical view reconstitutes the spatial logic of landscape as the unfolding of experience through memory.
From the great poet Wang Wei:
"Seated alone by shadowy bamboos,
I strum my lyre and laugh aloud;
None know that I am here, deep in the woods;
Only the bright moon comes to shine on me."
 |
| iPhone image: acrylic on linen, 2012, 84 x 73 inches |
From the great poet Wang Wei:
"Seated alone by shadowy bamboos,
I strum my lyre and laugh aloud;
None know that I am here, deep in the woods;
Only the bright moon comes to shine on me."
Thursday, April 05, 2012
Nightclubs on the Brain?
 | ||
| Notes on a Landscape 33, 2012, 12 x 9 inches |
The writer Joan Wickersham suggested I make a list of nightclubs I used to frequent in LA since I talked about them so much. It got me thinking about the club years (the first foray was 1974 to Rodney Bingenheimer's English Disco) and I am infusing this period of time into my work. Clearly, I am not alone--the link above, to the Museum of Art and Design, awards artists who enhance New York nightlife, a most worthy aim! and at Pulse Miami, 2011, Jane Hart had an exhibition of album cover collages from the 1960s and '70s at Available Space. Other artists are thinking about them too--who? And--does anyone have images from LA clubs between 1977 and 1981? Including pop-up clubs, like the Garage on Hope Street, before the museum was built?!
Tuesday, April 03, 2012
Saturday, March 17, 2012
Zaijien, Beijing
Thinking about the studio visits we made in Beijing, it seems expressionist artists focuses on process to elicit meaning, while academically trained artists conversant in Soviet and Chinese painting and sculpting techniques work with more message-driven meanings. This relates to but is not western; expressionism would relate to mood and musical composition, which can be considered hallmarks of imperial literati tradition; while message might relate to social consciousness and performance, hallmarks of the People's Republic.
Check out the artists below:
Bingyi Huang
http://www.bingyi.info/
http://www.wangqingsong.com/
Yang Qian
http://joannemattera.blogspot.com/2010/12/fair-enough-moola-riffic.html
Subscribe to:
Posts (Atom)
