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.
Tal R talks about “watching” paintings — not just looking at them. It might be a language tic, but it also feels specific.
“It’s been my most productive summer ever,” Alex Katz declares. “The real work is here, though,” he tells me, unrolling pounce paper to show me his preparatory drawings. “I want to go even bigger,” he says.
What New York gave Beckmann was not superficial subject matter, but inspiration in the form of energy.
“Practically everything I do takes ten years for people to get,” Billy Al Bengston says — perhaps a reason why several of his 1950s and ‘60s exhibitions have recently been re-staged.