Painting

A Shared Space: KAWS, Karl Wirsum, and Tomoo Gokita at Newcomb Art Museum

Tomoo Gokita. Speechless. 2013. Acrylic gouache on canvas. 28 x 12. 5 x 14 inches. Image courtesy of KAWS and the Newcomb Art Museum.

The history of the artist-as-collector is as long as the history of art itself. From Rembrandt to Damien Hirst, artists have amassed collections in order to satisfy a range of interests and obsessions. A Shared Space: KAWS, Karl Wirsum, and Tomoo Gokita, at Tulane University’s Newcomb Art Museum, consists of artworks culled from the Brooklyn-based artist, designer, animator, and commercial guru KAWS’s private collection, allowing[…..]

Chris Johanson: Equations at Altman Siegel

Given the cartoonlike basis of most of his portrayals, the slackerly compositions, and the seeming arbitrariness of the surface textures of the paint he uses so dynamically as a set of color choices (seemingly clumsy elements that have often been similarly deployed by other artists who might pass as “outsider,” however relative that term might be), the question arises as to why Johanson chooses to so often paint rather than draw. In these pieces Johanson doubles down on painting in several ways: first, through the large scale of several of the scenes, as with Lecture Series/Abstract Mass, and the bleak consumer composite suburbia of Los Angeles with Pills. Johanson paints on repurposed wood panels and displays most of his work in awkward, large, built wooden armatures to show off both fronts and backs equally (as he has done even more elaborately in installations elsewhere). This prominently shows off the wooden buttressing behind the panels, which he also highlights with “secondary” paintings on the reverse. These include what look like a series of painted geometric doodles mosaic’d on the back of one larger composition, a simple set of color fields of darker and lighter brown parceled out by the different wood elements themselves, and what looks like a beginning painted sketch of an abstract landscape not so dissimilar to what might show up elsewhere as just one among many background components in a “primary” or finished painting by Johanson on the front of one of his panels.

Today from our partners at Art Practical, we bring you Brian Karl’s review of Equations at Altman Siegel Gallery in San Francisco. The author notes, “Johanson eschews in this set of paintings the strategy of inserting text directly into the worlds he creates. The titles of the pieces do some of that work.” This article was originally published on November 30, 2015. In this exhibition of ten new works (all[…..]

La Polis Imagi-nada at El Quinto Piso

Liz Misterio. El regreso de Ana Suromal, 2015 (action-art still); action-art and video projection. Courtesy of the artist and El Quinto Piso, Mexico D.F. Photo: Liz Misterio.

What is a city? How can it be conceptualized? How does one create oneself within that geographic and symbolic space? These questions frame the most recent show at El Quinto Piso, La Polis Imagi-nada. The curatorial statement talks about the polis and civic participation in theoretical terms, but the exhibit situates these concepts firmly within the symbolic and geographic realities of Mexico City. El Quinto[…..]

Lawren Harris: The Idea of North at the Hammer Museum

Lawren Harris. North Shore, Lake Superior, 1926; oil on canvas; 40.25 x 50.13 in. Courtesy of the National Gallery of Canada. ©Family of Lawren S. Harris. Photo: ©NGC.

“You need to understand, Patricia, that every Canadian recognizes these paintings,” so explained my friend and guide, a native Torontonian, as we walked through The Idea of North: The Paintings of Lawren Harris at the Hammer Museum. “Canadians who have no other art-historical point of reference know who the Group of Seven are.” This school of early 20th-century Canadian landscape painters occupies the periphery of[…..]

An Evening Redness in the West at the Museum of Contemporary Native Arts

Andrea Carlson. Ink Babel, 2014; ink and oil on paper; 115 x 183 in. Courtesy of the Artist and Bockley Gallery.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Alicia Guzmán reviews An Evening Redness in the West at the Museum of Contemporary Native Arts in Santa Fe, NM. When viewers enter An Evening[…..]

Julian Hoeber: The Inward Turn at Jessica Silverman Gallery

Julian Hoeber. The Inward Turn; installation view. Courtesy of the Artist and Jessica Silverman Gallery, San Francisco.

In this closed, infinite system, there is more to ponder than the paradoxical experience of such a visual journey.

Fan Mail: Eric G. C. Weets

Eric G. C. Weets. The Eric G. C. Weets. Looking Around, 2013; oil on canvas; 31.1 x 31.1 in. Courtesy of the Artist.

For Eric G. C. Weets, size does matter. Since 2007 he has been creating sprawling canvases of intertwined line drawings in his studio in Pune, India, where the Belgian artist has lived for the past twenty-three years. In searching for a means to document human experience through form, Weets discovered in scale a conceptual and practical mechanism that served his desire for an expansive, albeit[…..]