Patrick Neal


Crude Beauty and Wordsworthian Grandeur

by Patrick Neal on October 20, 2014

Stanley Lewis at Betty Cuningham Gallery

The artist Stanley Lewis draws and paints the landscapes closest to him, places where he works, teaches, and travels like nearby lakes and roadsides in Chautauqua, New York, or his backyard and studio window views in Leeds, Massachusetts.

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Painting as Super Model

by Patrick Neal on July 9, 2014

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Yve-Alain Bois’s book Painting as Model was written twenty odd years ago and continues to be an important text, providing conceptual fodder for many contemporary art practices.

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Post image for Thick Paint, Dazzle Ships, and Lipstick Bullets

Big sailing ships and their metaphoric potential appear to be on the mind of many cultural players of late.

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Post image for Janet Fish and the Primacy of Perception

Considering the art of the painter Janet Fish, who currently has works spanning fifteen years on display at DC Moore Gallery, I found myself pulling books off the shelf by the philosopher Maurice Merleau-Ponty.

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Big and Bold in Albany

by Patrick Neal on January 20, 2014

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ALBANY, New York — The Albany Institute of History and Art, which has just renovated its largest gallery, is marking the occasion with Big and Bold, a showcase of large-scale contemporary works from its permanent collection

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Post image for Painting Beyond Belief: Amy Sillman, Peter Doig, and Jordan Kantor Discuss Chagall

Last Sunday night, on the occasion of the exhibit Chagall: Love, War, and Exile on view at the Jewish Museum, Jordan Kantor a painter and professor at California College of the Arts, hosted an intimate panel looking back at painting since the death of Chagall to the present.

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Abstracting Daily Experience

by Patrick Neal on November 4, 2013

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Shortly after President Obama announced his support for same-sex marriage in May 2012, the online version of the Guardian came out with an interactive graph depicting gay rights in the US on a state by state basis.

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Post image for The Many Faces of Abstraction

Since painters of any stripe, be it abstract or figurative, no longer work around master narratives, trying to tackle one big issue, it’s common to see group shows of abstract painting arranged around particular interests or strategies a select group of artists may share.

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Painting Matters Now

by Patrick Neal on April 25, 2013

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Three months ago I attended a discussion at Hunter College called towards meaning in a plural painting world. The panel sought to examine today’s multiplicity of painting styles and determine if this is a positive or dilutive development for painting’s meaning as a whole. Last Wednesday, the Pratt Institute took on similar subject matter with a panel titled “Painting Matters Now: a Conversation.”

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Post image for The End of the World as We Know It

Radiator Arts continues to energize the Long Island City art community. Its mission of showcasing new and emerging artists and curators makes for a remarkably varied program from show to show, but the installations are always topical to a particular theme. Their new exhibit, curated by painter and writer Alan Lupiani, is a heady mix that will leave you ruminating about the state of the U.S. and the world at large. Titled So Real, a contraction of both social realism and Socialist Realism, the exhibit ponders the inherent paradoxes and unlikely commonalities of these two artistic realms.

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