Posts Tagged ‘Painting’

Sylvia Fein: Surreal Nature at Krowswork

Sylvia Fein. Crucial Eye, 2011; egg tempera on board, 20 x 24 inches. Courtesy the artist and Krowswork Gallery, Oakland.

Today from our partners at Art Practical we bring you Mary Anne Kluth‘s review of Sylvia Fein: Surreal Nature at Krowswork Gallery in Oakland, California. Kluth notes, “A true pleasure of the exhibition, and a mark of its success as a retrospective, is the opportunity to trace developing threads, such as a particular symbol, subject matter, or technique, through various works over long periods of time…the[.....]

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[.....]

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[.....]

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[.....]

Veronika Rónaiová/Julián Filo: Shape of the Gesture

Veronika Rónaiová/Julián Filo. Shape of the Gesture, 1989/2012; acrylic and oil on canvas, 104 x 104 cm.

Today’s article comes from Slovakian curator and art critic Richard Gregor, who takes us through a recent work by Veronika Rónaiová/Julián Filo that features the members of the band Pussy Riot. Two days ago, Russian President Vladimir Putin said that he will free Pussy Riot’s Nadezhda Tolokonnikova, 24, and Maria Alyokhina, 25, who were jailed after performing an anti-Putin “punk prayer,” at Moscow’s Christ the Savior cathedral in February last[.....]

Fan Mail: Jeff Depner

Jeff Depner. Reconfigured Grid Painting No.18, 2012; acrylic on canvas; 50” x 43” inches. Courtesy of the Artist.

Jeff Depner’s commitment to one medium, in this case to painting, is rare in the current climate, in which artists work across increasingly varied platforms and often combine mediums. Depner’s paintings simultaneously explore paintings’ storied and experimental past and burgeoning future. Most of his richly layered acrylic works systematically investigate the possibilities of the medium by following a similar internal logic that in turn gives[.....]

Anoka Faruqee: Substance and Accident at Hosfelt Gallery

Anoka Faruqee. 2013P-34, 2013; acrylic on linen on panel; 33.75 x 33.75 in. Courtesy of the Artist and Hosfelt Gallery, San Francisco.

From our partners at Art Practical, today we bring you a review of Anoka Faruqee‘s paintings at Hosfelt Gallery in San Francisco. Author Rob Marks notes that critics of Op art who characterize the genre as superficial are ignoring the possibilities that lie beneath the surface: “Faruqee’s 2013P-29, 2013P-32, and 2013P-34 (all 2013), for example, could appear as little more than decoration, gimmickry, or novelty…. But such easily drawn conclusions—the[.....]