“I begin listening and recognizing silence, meditating until I hear the blood circulating, and then start following the beats, making marks, one by one, line by line, emptying myself until the entire surface of the canvas is covered.”
I first came across Charline von Heyl’s paintings in the mid-’90s. She had moved to New York from Germany in 1994, having had her first New York solo show at Friedrich Petzel Gallery.
Sculptor Rona Pondick on bodily fragmentation and the manipulation of the museum at her Worcester Art Museum exhibition.
Inconsistency, contradiction and the feminization of minimalism are discussed in relation to Karin Waisman’s sculptural work.
Shirley Jaffe’s distinctive and eccentric work is difficult to pin down, both in time and style. When I first came across her paintings at the Holly Solomon Gallery in New York in 1988, I had an immediate response to their idiosyncratic quality.
Diana Cooper’s work is a high-wire act.
Aesthetically informed by an awareness of the limits of language and the doubt that this instills, Jiménez investigates the way language orders experience and how concepts are formed, the irreconcilability between the logic of articulation and sentience.
To look at any painting by Robert Mangold is to see exactly what is there. For over 30 years, his work has been clear and direct.
With his interactive display of multicolored concentric rectangles, vintage record players covered in sequins and yarn-covered jazz records, artist Jim Lambie presents work with an ingenious appeal.
Siena successfully turns his images into what they are not, coaxing their “other” from them. Seemingly without conscious intention, he transfixes the viewer like a magician, making the nonexistent become existent, in the most indirect way.
Like a mirage in a desert, the landscapes in Adam Ross’s paintings and drawings are as unreal as a vision seen by a delirious time traveler.
Jim Butler’s recent paintings bring to the tradition of “realism” a concern for the act of perception.
The 19th-century traditional skills of the “fine artist” and the nomadic intellect of the postmodern would seemingly be at odds with one another, as if object and subject were intent on maintaining total disregard or being completely dissolved by each other. Such a paradox is at the core of Roland Flexner’s work.
“You end up using dubious sounding words like ‘alchemical’ to describe painting, but it’s this incredible activity.”
“It’s impossible to create more than what you are. You can only unveil more of yourself.”
The painter/writer Mira Schor addresses feminist issues, articulating the question of identity.
Combining the now generic languages of abstract painting, Argentinean painter, Fabian Marcaccio constructs a bricolage of diverse cultural and historical approaches.
Painter Valerie Jaudon positions her work between fine and decorative arts reconciling modernist and post-structuralist polemics with ease through open ended methods and interrogations that take on a uniquely seductive and feminine point of view.
Oil on canvas painting, titled The Commands of Desire, by Shirley Kaneda.
“Decoration in this folk sense is a kind of culturalized representation of nature. It’s closest to the raw elements that reflect a very specific geographical location in historical time. The importance of it for me is that I can have these circumstances of time and place in crystalline form, and I can feel those realities, feel the history that they inevitably speak about in this natural cultural sense.”