Abstraction

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Studio Visit: Margaux Ogden by Matthew J. Abrams
Margaux Ogden1

Painting as disappearance.

One Piece: Untitled by Johnny Abrahams
Johnny Abrahams Untitled Studio One Piece

The artist talks about the genesis, composition, and execution of a recently completed work.

One Piece: There’s a bright side somewhere by Alteronce Gumby
Alteronce Gumby Brightside

The artist talks about the genesis, composition, and execution of a recently completed work.

James Little by LeRonn P. Brooks
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“The reward is getting through the tough stuff. And that’s what’s perplexing about the art thing. When I was going to school there were kids that could draw their asses off. There were kids that were better draftsman than me, for certain. But no one was more determined than me.”

Sheree Hovsepian by Haley Mellin
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Hovsepian addresses current matters in her work, but she does so in a vocabulary that moves beyond binaries and beyond Western mentality, one that follows a different way of thinking and feeling.

Peter Bradley by Steve Cannon, Quincy Troupe & Cannon Hersey
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“I don’t want to mention names, but there are several black artists that would like to shoot me today because they weren’t in that show. Some of them are dead, but the ones that aren’t dead still give me a lot of bullshit every time I see them.”

Michael Childress by Susan Jennings
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It starts, of course, with water. A bath for the newborn, a baptism for the blank canvas.

Patricia Treib by Joe Fyfe
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“Every time you remember something, it’s not like you’re being teleported to the past—you’re actually physically experiencing it in the present.”

Eldzier Cortor by Terry Carbone
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“I’m fighting between control and letting nature take its course.”

Portfolio by Sebastian Black
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“It felt like a thought. That’s something.”

Sadie Benning by Lia Gangitano
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“With film, you have sound and you can construct this whole environment that allows for a certain feeling to exist for someone watching. There’s more of a burden on a painting to develop these kinds of feelings or experiences in one frame.”

Portfolio by Asger Carlsen
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HESTER

Gerald Jackson by Stanley Whitney
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“It turns out making art was the best idea [for me]. My mother’s idea was good because it got me started. She said, ‘Look, you are skinny; you are little. You can’t hang out with your daddy and them big guys.’”

Portfolio by Strauss Bourque-LaFrance
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“I started making this work because I was sick of seeing everything.”

Max Galyon by Jacqueline Humphries

This fall, Max Galyon, at my invitation, mounted an exhibition of his paintings and sculptures in my studio in Sunset Park, Brooklyn. The show was intended to create a setting for spontaneous conversations between artists outside of any commercial context, and was open to the public on certain days.

Portfolio by Dana Lok
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“Traditionally, a painting treats you to the front and center seats. I like the idea you might get a seat that’s off to the side.”

Two Stanley Whitney Books by Chris Chang
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“No rulers ever used.”

Portfolio by Lori Ellison
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David Diao by Matthew Deleget
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Diao’s first comprehensive retrospective, at the Ullens Center for Contemporary Art—fittingly, in the painter’s native China—is the occasion for a conversation that looks back at fifty years of artistic production.

Nicole Eisenman and David Humphrey
Nicole Eisenman 1

The painters discuss facial symmetry and mirror neurons, the interplay between image and texture, and their shared interest in storytelling through figuration.

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