Painting

Radcliffe Bailey: Maroons at Jack Shainman Gallery

The preserved crocodile carcass, pinned against a ratty tarp to form the centerpiece of a work called On Your Way Up, is as good a place as any to begin a review of Radcliffe Bailey’s exhibition Maroons at Jack Shainman gallery. Though purportedly on the ascent, this climber has clearly seen better days; its exposed finger bones, protruding between disintegrated flesh, seem unlikely to carry[.....]

Ramiro Gomez: Domestic Scenes at Charlie James Gallery

Ramiro Gomez. Woman Cleaning Shower
in Beverly Hills
(after David Hockney’s
Man Taking Shower in
Beverly Hills, 1964), 2013. 
Acrylic on canvas. 36 x
36 inches. Courtesy the artist and Charlie James Gallery, Los Angeles. Photo: Osceola Refetoff.

Ramiro Gomez’s show at Charlie James Gallery has been gaining a lot of attention for his topical use of visual politics to introduce labor and immigration issues into the art discourse. Most notably, Gomez appropriates the image of David Hockney’s iconic painting A Bigger Splash (1967) and a group of smaller Hockneys from the same period in his own paintings. The jubilant splash of Hockney’s[.....]

Annie Lapin: Various Peep Shows at Honor Fraser

Annie Lapin, Various Peep Shows (Through), 2013; Oil and acrylic enamel spray-paint on canvas; 82 x 72 inches. Courtesy of Honor Fraser Gallery, Los Angeles. Photo: Brian Forrest.

Whenever it seems that painting has run its course, an exhibition like Various Peep Shows comes along to restore our faith in the medium. For her third solo show at Honor Fraser Gallery, Annie Lapin presents a series that contains within each work the broad spectrum of paint’s physical and representational possibilities. These are much more than postmodern pastiches, however, as they show a sincere[.....]

Stay in Love at Lisa Cooley and Laurel Gitlen

Love is a kind of obsession, and obsession is a kind of love. It is this sentiment, not one of sensationalism or romanticism, that permeates the works in the two-gallery group exhibition, Stay in Love, curated by Chris Sharp at Lisa Cooley and Laurel Gitlen. Alternating between meditative, neurotic, and celebratory, the featured artists investigate the subjects of their fascination with the thoroughness that exists[.....]

Sofia Leiby: The Drama of Leisure at Devening Projects

Sophia Leiby. Untitled, 2013; mixed media on canvas, 22 x 18 in. Courtesy of the Artist and Devening Projects + Editions, Chicago.

Sofia Leiby‘s first solo exhibition in Chicago, titled The Drama of Leisure, consists of fourteen paintings and three runs of screen prints. Now on view at Devening Projects + Editions, Leiby’s paintings and drawings are clearly influenced by her experience as a printmaker. In most works, the artist paints as if the brush were a thick, wet crayon, and she sketches and fills with rapid[.....]

Material Practices: Stitching, Fabric, and Textiles in the work of Contemporary Chinese Artists

Yin Xiuzhen, Portable City, Sydney, 2003       photo: Yin Xiuzhen         collection by Sherman Contemporary Art Foundation, image courtesy the artist

Mao Zedong once said that revolution is not a dinner party. Less famously, he said it is not embroidery, either. Interestingly, however, some female contemporary Chinese artists have chosen to work with thread and textiles—and embroidery—in experimental, maybe even revolutionary ways. From Lin Tianmiao’s overt exploration of sexuality, fecundity, and the aging and decay of the body, to Yin Xiuzhen’s use of the embodied memories[.....]

Amy Sillman: one lump or two at the Institute of Contemporary Art/Boston

Amy Sillman, C, 2007; Oil on canvas; 45 x 39 inches. Collection of Gary and Deborah Lucidon. Photo: John Berens.

Amy Sillman? All I can say is pentimenti. The artist’s working process provides so many transitory parts that the brain has to protect itself by combining them into a whole. The work comes to a rest, but hiding under the surface are two interpretive horizons: The complete painting and the individual paint strokes. The whole work is inseparable from each stroke, and yet the individual[.....]