Saturday, December 29, 2012

Friedrich Kunath

Q + A @ Hammer.
Friedrich Kunath, Leaving is overrated, 2009 (Detail), TV box, socks, acrylics, 52 x 74 x 45 cm, Photo: Lothar Schnepf, Courtesy Blum + Poe, Los Angeles; BQ, Berlin; Andrea Rosen Gallery, New York. via

2007-2008
Gouache, watercolour, varnish on canvas

200 x 280 cm (via)




Sydney Licht


(excerpt from an interview of artist Sydney Licht by Neil Plotkin, published at Painting Perceptions)
NP: Recently you completed a residency at Yaddo. Can you talk about the experience that you had there and how the work emerged from it?
SL: Even before I got to Yaddo, I knew I wanted to create a visual diary of the experience.
When I arrived, the first thing that the staff presented me with was a white paper bag with my name on it. It was my lunch to take to the studio. Receiving this white bag with my name on it was a very welcoming thing, like a gift.
I took the bag with my lunch in it to my studio which was completely empty and white and beautiful. A gorgeous space with nothing in it. When I took the sandwich out of the bag, it was the only visual thing in the whole room, and so I decided to paint it. I had such a good time painting it.

Yaddo Lunches – 6 in x 6 in – watercolor
On the second day and for the the rest of my three week stay, every morning I would pick up my lunch pail at breakfast and go to the studio. My visual diary became this ritual of painting my lunch before eating it. I would spend the morning getting warmed up by doing a watercolor of what I was given for lunch. I’d eat the lunch. Then in the afternoons, I worked on still life paintings in oil.
It was a wonderful experience. During working hours at Yaddo, everyone is expected to remain quiet in public areas so as not to disturb the other residents. All residents meet for dinner and then you can either go back to work or socialize. I found it to be very productive.

Yaddo Lunches – 6 in x 6 in – watercolor
NP: From my perspective, you’re a very established artist. You know what you’re doing. You’ve been doing it for a long time. You know how you’re going to approach things. How do you feel this residency helped move you forward? How did you benefit from it?
SL: Even though I’ve been painting for a long time, there are continual interruptions in my daily life not having to do with painting. Fighting to minimize those interruptions is a constant battle for me. When I go to a residency like Yaddo, I don’t have to think about what I’m going to make for dinner and all the other practical aspects of living my life. I’m on a mental holiday which makes room for true and consistent focus. Finding moments of focus is rare in my daily life, and easier to achieve at a residency. Also, I met some great people at Yaddo. Besides visual artists, some terrific writers, composers and performance artists were in residence while I was there.
[A group of images from this series]

Yaddo Lunches – 6 in x 6 in – watercolor

Yaddo Lunches – 6 in x 6 in – watercolor
Yaddo Lunches – 6 in x 6 in – watercolor

Yaddo Lunches – 6 in x 6 in – watercolor

Yaddo Lunches – 6 in x 6 in – watercolor

Yaddo Lunches – 6 in x 6 in – watercolor

Yaddo Lunches – 6 in x 6 in – watercolor

Yaddo Lunches – 6 in x 6 in – watercolor

Water as Crystal as dot dot dash

Danielle Rante studio shot from residency in Iceland
Ben Blatt Watercolor, gouache, ink on paper. 22.125 x 22.75 inches



Thursday, May 17, 2012

space invaders

Henrique Oliveira

Henrique Oliveira

Henrique Oliveira
Henrique Oliveira
'The artificiality of my paintings is related to the materials and the colors I use, but they have a truth in the sense that they don’t try to be anything they are not, what you see there, is paint manipulated on a surface. My wood constructions are natural in their materiality, but they are artificial in the sense that they give the viewer a sensation of something that is actually not happening.'' Oliveira via
Jennifer Bartlett
With these multiple-perspective images of boats and houses, Ms. Bartlett poses puzzling questions about the stability of representation. In translating her two-dimensional, painted scenes into three-dimensional sculptures, the artist faithfully reproduces the foreshortening employed to create the illusion of depth. What, then, are we seeing in these sculptures? It is neither the original objects that were then painted, nor models of what those painted objects actually look like, but something further removed, more abstract: reflections, in a sense, on the problem of perception. (Michael Kimmelman, NYTimes, 1988)
Jacob Kassay

Jacob Kassay
The chemist and artist George Brecht once suggested that in order to see things, we should ‘view them for a long time (until they are seen)’. Kassay’s paintings, like his only film, share Brecht’s interest in slowing down our process of looking, and in closing the distance between what is seen and how we see it. The paintings for which Kassay has quickly become known are metallicised canvases that he makes through a process related to those upon which the photographic image once depended for appearance. The artist primes his canvases, and then sends them to be electroplated in a bath of chemicals. Often used to add a protective layer to industrial components, plating coats a given object with a thin layer of metal that adheres to its surface through the object’s submersion in an electrified solution of metal ions. Executed initially at head size, Kassay’s chromed paintings evoke mirrors. [...] His paintings deflect attention away from themselves; their reflective surfaces send light elsewhere. Not insignificantly, they have no internal light. They try to play dead, deferring to their surroundings and those looking at them.  (Peter Eleey via)
Ida Applebroog via
See also.

Tuesday, May 15, 2012

"The New Casualists"

Interesting article on contemporary approaches to abstraction by young artists.

Lauren Luloff

Tuesday, May 8, 2012

Werd

Chris Johanson 2009
Tauba Auerbach
Cy Twombly 1975 (Gagosian Gallery)
Mel Bochner 2008


Giorgio Morandi

1947

"Morandi’s still lifes are beautiful, but with a distinctive kind of beauty: subterranean, germinating, the beauty of roots, seeds, relics, of things lost, then recovered, and soon to be lost again."

expressionism/neo-expressionism



Max Beckmann 1934
Georg Baselitz (born 1938)

Anselm Kiefer (born 1945)
Jean Michel Basquiat (1960-1988)



Elizabeth Murray
Watch Humor on PBS. See more from ART:21.

Dana Schutz


Swimming, smoking, crying

Dana Schutz combines fantasy and reality, humor and horror, to create figurative paintings that abound with expressionist energy. One of the most important young artists to emerge in the past ten years, she developed a distinctive visual style characterized by vibrant color and raw and tactile brushwork. The subjects of Schutz’s paintings spring from an absurdist sensibility as she invents imaginary stories or hypothetical situations that are bizarre and impossible, yet oddly compelling.  In the series “Frank from Observation,” for example, she imagined the fictional life of Frank, the last man on earth, as depicted by Dana Schutz, the last painter. As the artist states, “I embrace the area between which the subject is composed and decomposing, formed and formless, inanimate and alive.”  (via)

Dana Schutz @ Zach Feuer.

Thursday, May 3, 2012

Alice Neel

1980

1937

1972
Marisol 1986

Isobel Bishop 1974


David Hockney

(Images via)
Three Chairs and a Picasso Mural 1970
Nichol's Canyon 1980
A Bigger Splash 1967

Portrait of an Artist (Pool with Two Figures) 1971
A Lawn Being Sprinkled 1967


Monday, April 30, 2012