Color
The paintings in HumidGray and ShadowLake evoke synesthetic colors, remembered landscapes, and the physical performance inherent in marking a canvas.
A landscape painter explores the “bright, exuberant, plastic toxicity” oozing from the colors of our contemporary environment.
“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.”
The painters discuss facial symmetry and mirror neurons, the interplay between image and texture, and their shared interest in storytelling through figuration.
“My work was just like art history; it was all Velázquez, Goya, Cézanne, and Soutine. But when I saw Morris Louis I saw a way into the present.”
Veronika Vogler and Adam Stennett talk, via text message, about his live-in performance piece, the influence of nature and how we are all capable of being an artist.
Greenbaum on the fundamentally personal and private process of creating art, and how modernism, rage and rebellion fuel her creativity.
A painter colleague, Fabian Marcaccio, uses a phrase to describe a certain kind of artist. He says that they are “long runners.” Stanley Whitney is a long runner.
“Photography is a translation of color and tones—a language. And just as significant is that absolutely nobody possesses an accurate color memory.”
I’ve been to Yuskavageland—an improbable zone at the intersection of the European painting tradition, religious iconography, porn, and, I’ll argue, performance art.
I enter Katharina Grosse’s latest installation at MASS MoCA and I am awed by the sheer dimension of the piece and by the intensity of the encounter.
Painter Richard Hull interviews artists Jim Nutt and Gladys Nilsson in their Chicago home. Check out an audio excerpt from their conversation about El Greco, Chicago Imagism and the Hairy Who.
Olivia Booth and Rebecca Norton’s works address the body directly by involving us in an involuntary relationship to interiority, in which it’s inseparable from the exterior—surface, skin, or the space in front of either.
A review of Carlos Cruz-Diez in Conversation with Ariel Jiménez, a book that chronicles an encounter between Venezuelan critic Ariel Jiménez and his countryman artist Carlos Cruz-Diez.
Lauren Clay’s sculptures permeate the visual field like gamma radiation, unmistakably succulent in their Easter-egg hues. Drawing from references as varied as classical Greek symbols, a Southern Baptist upbringing, and Judy Chicago, her work is at once playful and deeply spiritual.
It is difficult to make work about joy. Eva Lundsager’s watercolors (articulated with sumi ink) manage to do it, capturing, as she describes them, acts of “hysterical ecstasy.”
When I look at Tala Madani’s paintings, I notice a peculiar relationship between what is direct (the manner) and what is ambiguous (the matter).
The three paintings pictured here are from a series Cameron Martin titles Black Sun.
“The concepts and illusions people set up to believe in are developed for psychological and physical reasons to let us function within a society. As soon as we are born, these illusions are being programmed within us.”
