Posts Tagged ‘paintings’
October 18, 2016 | by Dan Piepenbring
Claire Sherman’s exhibition, “West Ridge,” is at DC Moore Gallery in New York through November 5. Sherman’s latest paintings focus on what she calls “unraveling environments,” depicting archetypes of forests and islands in varying states of agitation. She paints quickly, refusing to spend more than a day in the studio working on a single piece. “The physical quality of paint is something I find very seductive,” she told Hyperallergic in 2014. “Paint has the ability to describe, fall apart, be chaotic, rigid, uncontrollable, fluid, and surprising all at once.”
October 10, 2016 | by Dan Piepenbring
“In the Pines,” an exhibition of paintings, ceramics, and works on paper by Rebecca Morgan, is at Asya Geisberg Gallery through October 29. Morgan grew up in the mountains of Central Pennsylvania; her work plays with stereotypes and caricatures of hillbillies and country people. The woods suggest a coarse and hedonistic culture: it is the scene of bonfires, hunting, sex, drunken revelry, camaraderie, fights, and perversion. Morgan said in an interview with TOH Magazine. “I navigate my reverence and aversion to the place that has rejected yet charmed me. I operate in modes of frustration, cynicism, and reclamation.”
October 3, 2016 | by Dan Piepenbring
The Austrian painter Maria Lassnig moved to New York in 1968, leaving behind a thriving career to explore what she called “the land of strong women.” She lived in the city virtually unknown for twelve years, keeping a low profile and producing a protean body of paintings, drawings, watercolors, silkscreens, and animations. “Woman Power: Maria Lassnig in New York 1968–1980,” at Petzel Gallery through October 29, exhibits her work from this period. Lassnig, who died in 2014, is remembered for her self-portraiture and “body-awareness paintings”: her effort to translate physical sensations to the canvas. “The only true reality is my feelings,” she said, “played out within the confines of my body.”
September 27, 2016 | by Dan Piepenbring
Suellen Rocca’s “Bare Shouldered Beauty: Works from 1965 to 1969” is showing at Matthew Marks Gallery through October 22. In the late sixties, Rocca was part of the Hairy Who, a group of six imagist artists from Chicago; their exhibitions gained renown for their magpie approach, drawing influences from pop culture, magazines, comic books, and “trash treasures,” as Rocca’s collaborator Ray Yoshida called them. Rocca has referred to her work from this period as her “autobiography.” “I was this young mother making these paintings,” she told Hyperallergic last year. “It was a wonderful period. My son would take a nap and I’d rush to my knotty pine studio and work on a painting. Having a toddler and a baby and all these exciting shows, it was wonderful. It was a happy time.”
September 16, 2016 | by Mary Jacobus
These images, selected from my book Reading Cy Twombly: Poetry in Paint, indicate the range and provocation of Cy Twombly’s works on canvas and paper, pointing especially to his inventive use of literary quotation and allusion throughout his long career and his relation to poetry as an inspiration for his art.
Twombly’s working copy of a paperback translation of Three Secret Poems, by the twentieth-century Greek poet George Seferis, shows his hands-on approach to quotation and revision as well as paint stains from his work in progress. A number of marked passages reappear in Twombly’s paintings of the mid-1990s, notably in Quattro Stagioni (1993–94) and Say Goodbye, Catullus, to the Shores of Asia Minor (finally completed in 1994).