Away from the classroom and into the gallery space! Xylor Jane proves that artists get A’s in math, too.
The image of a lone tree in a desolate landscape, which I saw in a printed photograph, has become a recurring motif in my work, including my recent exhibition 2008 / 2009 < 2009 / 2010 at Sue Scott Gallery, where the image in different forms populated the walls and floors of the installation.
Offset lithograph, printed on Monadnock paper Dimension: 25×38” Commissioned for BOMB #105, Fall 2008 Edition: 250
“I try to make my pictures read as plausible stares.”
Mimi Thompson on how Stanley Whitney’s colorful grid paintings aspire to “density with a lot of air.”
Elizabeth Murray and Jennifer Bartlett, painters and lifelong friends, reminisce about the ambitious New York art world of the 1960s and ‘70s in this Fall/2005 interview.
Early this summer I went to the opening of Bill Albertini’s piece Memory Index (1999–2004) at the Alona Kagan Gallery in Chelsea.
It was in 1981 and I was a sophomore in art school when I first encountered Chuck Close’s work at a show called Contemporary American Realism Since 1960. I was struck by how it didn’t resemble any of the other work in the show.
Hailed by the New Yorker critic Peter Schjeldahl as “the most profound abstract painter of the past four decades,” Marden began his career under the tutelage of Robert Rauschenberg and went on to teach seminal artists Richard Serra and Chuck Close.
Finding pleasure in the color and order of the grid, painter Georgia Marsh speaks with Betsy Sussler about art as a means of description and finding rhythm in the world around us.