Composition (Artistic Arrangement)
Following loosely in the tradition of the book-length photo-essay yoking images to text in a documentary mode, Cole has gently torqued this form.
The artist talks about the genesis, composition, and execution of a recently completed work.
“Oh no, this is sounding too beautiful, too seamless, and too much like it was planned. I have to unravel it.”
Kasten’s photographs capture the fleeting interplay of color, form, and light in the geometric objects she assembles. She spoke to Leslie Hewitt about the expansion of their shared medium.
In the 1970s there was a little record shop in Claremont, California, where Christopher Deeton grew up, that somehow included in its stock a steady supply of LPs by new German bands.
Christian Haub’s Floats are plexiglass constructions that are looked through as well as at. The artist discusses the place these works have in his long, underrated career.
Uta Barth brings a new meaning to close looking.
Joe Fyfe tells painter Josh Blackwell about his involvement in abstraction as a by-product of loss and the wabi-sabi discovered on his travels to Vietnam, Sri Lanka, and Bangladesh.
George Negroponte’s new work has substituted the expression of the brush with that of the knife.
Herrera’s use of profane materials—familiar, commonplace images—“contaminate” the carefully circumscribed world of the abstract.
Steve DiBenedetto forces a lot of perspectives into his pictures. As he puts it, “I like to put in too many skies.”
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.
Steven Holl likes to wake up early in the morning and begin his projects with pencil, paper, and watercolors. This freehand working up of an architectural space perhaps serves as a clue to the sometimes idiosyncratic results.
Beatriz Milhazes’s paintings are executed in a small studio next to Rio de Janeiro’s luscious botanical gardens.
The painter Jacqueline Humphries might find it odd that NBC uses an editing process called the “tease and squeeze”: compressing the closing credits into one-third of the screen, while outtakes and other brief clips of “promotainment” roll on the remaining two-thirds.
I have been following Stephen Mueller’s work for 20 years. I didn’t understand it right away but some work plants itself in your mind and its logic begins to grow there. These earthly sensual paintings display a rare pictorial intelligence and an emerging cosmic ferocity.
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.
David Ryan’s work reminds one that while most contemporary art works like furniture—its inertia facilitating conversation on almost any topic (except art) that might go on around it—painting has to exceed its literal identity as an object if it is to be more than a critique of itself.
Francine Prose, author of the novel Hunters and Gatherers, delves into realism and the real act of painting time with figurative painter Catherine Murphy.