De-radicalizing the monochrome.
Kris Chatterson interviews painter Eric Freeman.
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.
Two works of Steven Parrino shown recently in Europe (Milano, Italy and Dijon, France) bring back home thoughts on that 20th century thing called abstraction.
Alan Uglow doesn’t neglect a single source of inspiration—from the noise of the street to the beauty of Italian luxury cars—his is a rigorous formal reflection with a subjectivity full of charm and tenderness. Alan’s paintings are beyond reductive commentary and that’s why, with him, it’s always best to stay alert.
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.
Olivier Mosset’s monochrome paintings became figurative walls for graffiti artist Fred Brathwaite. The two artists discuss their work’s purposeful and inherent intersections in “Clinton Street.”