Thomas Nozkowski

Post image for Thomas Nozkowski and Philip Guston Talk to Each Other Without Knowing It

Thomas Nozkowski wasn’t thinking about Philip Guston’s “Untitled” (1980) while he was working on “Untitled (9-21)” (2012), but the number of formal attributes they share — from size to composition and imagery — has proven hard for me to ignore. It was while I was looking at Nozkowski’s “Untitled (9-21)” at his exhibition at Russell Bowman Art Advisory (April 12 – June 15, 2013) in Chicago that a specific Guston work came to mind. Shortly after I got back to New York, I checked to see whether or not my memory had been playing tricks on me. It hadn’t.

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Post image for Oddly Warped and Genuinely Thrilling Paintings

The new paintings of Andrew Masullo, now at Mary Boone Gallery in conjunction with Feature Inc., outwit, defy, and make gallery-going fun again.

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Post image for Breaking the Postmodern Creed: Thomas Nozkowski’s Unimaginable Paintings and Drawings

By 1974, Thomas Nozkowski had made two decisions – he would paint on widely available, 16 x 20-inch, prepared canvas boards, and everything he painted would come from personal experience.

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Post image for A Truly Subversive Artist Is Not Necessarily Someone Who Is Theatrical or Gimmicky

If there is one constant about Thomas Nozkowski that I would single out, it is his lifelong insistence on subverting conventions. In 1974 he began painting on canvas board measuring 16 by 20 inches. (Let’s be clear here — Bill Jensen never painted on this small a surface because it had no historical precedence). He used an inexpensive, mass-produced product, the same kind that comes in “paint by number” kits and carries associations with “Sunday painters.” No wonder his defiance went largely unnoticed, particularly when the ’80s rolled around.

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GalleriesWeekend

Sassily Serious and Seriously Sassy

by John Yau on January 28, 2012

Post image for Sassily Serious and Seriously Sassy

I set out with the intention of seeing these shows, so I wouldn’t call it synchronicity, but the simultaneous exhibitions of David Goerk and Martha Clippinger in the same building, just one floor apart, did get me thinking about art making that is concerned with the realm between painting and sculpture — from della Robbia’s bas reliefs to early modernism (Hans Arp) to contemporary art (Stuart Arends, Ellsworth Kelly, Jim Lee, and Richard Tuttle).

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Post image for Art You Can Wipe Your Feet On

The owners of BravinLee aren’t satisfied with simply selling art to hang on the walls. In a new initiative, they’re expanding their inventory to include art to put underneath the coffee table.

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Books

Reading Brooklyn Rail’s November Issue

by Kyle Chayka on November 24, 2010

Post image for Reading Brooklyn Rail’s November Issue

This month’s Brooklyn Rail didn’t just update me on the critical reception of the past months’ art exhibitions, it also kept me well-informed about the state of vegetarian burritos, Indian call centers and the misunderstood G train! The November issue (my copy is elegantly covered in a Jonas Mekas lithograph of a hand cradling a flower bud) is a primer for anyone who hasn’t necessarily seen all of the right shows and read all of the right books for the recent spat of cultural production. Taken as a whole, though, the weighty newsprint publication’s most interesting articles lay in unexpected places and concern unexpected topics.

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