Painting

(detail) at Transition Gallery

(detail), 2014; installation view, Transiton Gallery, London. Courtesy of Andrew Bracey and Transiton Gallery. Photo: Andrew Bracey

The premise seems simple: A painter’s painter curates an exhibition comprising one work each from 118 painters. The breadth of the offering covers the full gamut of the medium and, as a result, creates a beautiful crisis for the genre of painting—and that’s because there isn’t a lick of paint in the most painterly concerned of painting shows. For (detail), artist–curator Andrew Bracey asked each[.....]

Cynthia Ona Innis: Shift at Traywick Contemporary

Cynthia Ona Innis.
 Shift, 2014; acrylic and satin on canvas; 
45 x 50 in. Courtesy of the Artist and Traywick Contemporary, Berkeley.

Our partners at Art Practical are celebrating their sixth annual Shotgun! issue, so today we bring you Maria Porges’ review of Cynthia Ona Innis: Shift at Traywick Contemporary in Berkeley, California. This article was originally published on September 25, 2014. Rather than being representations of place, Cynthia Ona Innis’ paintings are evocations of the experience of landscape. Innis favors locations where change is visible and constant—like Iceland, where she visited a year[.....]

New Image Painting at Shane Campbell Gallery

New Image Painting, 2014; installation view, Shane Campbell Gallery, Chicago. Courtesy of the artist and Shane Campbell Gallery.

What sets New Image Painting at Shane Campbell Gallery apart from this year’s other sleepy season closers is not the work selected, which is a standard collection of represented artists and friends of the gallery, but rather an unusually confrontational framing within painting’s past and present history. As the curator’s statement explains, New Image Painting offers a “platform from which to critique the prevalence of[.....]

John Altoon at the Los Angeles County Museum of Art

John Alton, "Untitled (F-46)," 1966, Ink and airbrushing on illustration board, 30x40inches, National Gallery of Art, Washington, anonymous gift, 1997 | © 2014 Estate of John Altoon

Today from our friends at Artillery Magazine, we bring you John David O’Brien’s review of John Altoon’s retrospective at the Los Angeles County Museum of Art. O’Brien notes, “…Altoon’s art lives up to any expectations a viewer might have for it.” This article was originally published on September 2, 2014. John Altoon couples his relaxed, entirely convincing painterly hand with a flippant disregard for norms, whether social,[.....]

COMMUNE at White Rabbit Gallery of Contemporary Chinese Art

Xia XIng, '2010', 2010 - 2011, oil on canvas, 35 x 50cm (x60) image courtesy White Rabbit Gallery

The word commune, whether used as a noun or a verb, has complex connotations. From earnest Utopianism to grim, state-enforced collectivism; from familial relationships and networks to our connection with the natural world—all of these possible associations are present in the new show at Sydney’s White Rabbit Gallery of Contemporary Chinese Art. From Judith Neilson’s impressive collection, curator Bonnie Hudson has selected works by twenty-three artists.[.....]

Mel Bochner: Strong Language at the Jewish Museum

Dollar Hash Exclamation Plus

Strong Language, currently on view at the Jewish Museum, chronicles Mel Bochner’s longstanding dedication to the critique of language. The exhibition features over seventy text pieces the artist made between 1966 and 2013. While linguistic examination remains the common thread throughout the forty-plus years of work on display, the exhibition also evidences a recent turn by Bochner toward creating more conventional and easily commercialized fine-art[.....]

Neal Rock: Herm 0714 at Loudhailer Gallery

Neal Rock. Schwarze Prosopon, 2014; Silicone paint, styrofoam & MDF, 25 x 13 x 8 in. Photo courtesy Loudhailer Gallery and the artist.

The latest exhibition of work by Los Angeles-based artist Neal Rock, currently on view at Culver City’s Loudhailer Gallery, asks viewers to consider artistic materials in a fresh and interesting way, but falls somewhat short conceptually. Rock’s abstract, sculptural works combine found components, such as insulation material, with layered experiments in oil paint, silicone, and printing. These idiosyncratic objects are tantalizingly ambiguous in tone but[.....]