Wilson warns me that her studio never looks impressive — a hazard of making meticulous, intimately scaled work.
Essenhigh and Mumford — who live together and work in adjoining studios on the Lower East Side — are unafraid to make declarations about what motivates the other.
Uttech tells stories through the metaphoric possibilities of paint.
An artist couple talks about paintings with a punch line and a street full of rats.
The forms in Emily Cheng’s paintings are suggestive of the most primary elements: the landscape, the body, and religious iconography.
The cozy studio environment and the casual, gonzo aesthetic of the ceramic objects, not to mention Wackers’s personality, may bely how technically precise and complexly orchestrated his paintings are.
Matter was a believer in the possibility of channeling a total, magical presence – even if it meant destroying a work or never completing it.
Acheson does not care about trading niceties or being ingratiating. He would rather propose and debate philosophical ideas.
The long-reigning bad boy of German painting has consistently poked and prodded at whatever preciousness we associate with the medium.
This year, the Whitney Biennial includes plenty of painting. And — for the most part — the painting is on message. It’s eccentric figuration with political content.
Coates’s recent work depicts food: spaghetti and meatballs, sprinkle cookies, and s’mores. Her work is about matter and viscosity, but it is also rooted in grid-like structures, repetitive mark-making, and very sophisticated paint handling.
Painters who lived and exhibited in New England, like Jake Berthot and Porforio DiDonna, are highly represented. They, like Stockwell, have straddled the line between tough material abstraction, nature, and the figure.