The openness of Willis’s art suggests that he does not believe that painting needs to attain visual perfection; painting is a process that does not search for closure.
Graham is inspired by science and draws on her deep knowledge of it, which ranges from chemistry and molecular structures to botany.
Whereas the creators of landscape abstractions generally believed their paintings were impervious to time, Lucy Mullican makes artworks that are exposed and susceptible.
Kwon Young-Woo presents the viewer with a deeper sense of the reality that nature goes on, no matter what humans are doing to each other.
Elliott Green seems to be espousing that landscapes are living forms governed by rules we cannot fathom — they appear to be welcoming us, but we might be wrong.
Utako Shindo is interested in transitional passages and hinge experiences, or what she calls the “in-between spatiality.”
Osman’s care for and attention to his modest materials, the particularities of their identity, is rare in a society where excess is celebrated daily.
Is the earth a necropolis in which the survivors live among the dead and their sarcophagi, which includes museums, pyramids, and monuments of all kinds?
Fish’s artworks elude every attempt to enclose them in language, and they resist explanation. They become something only a painting can be.
Walter Pater famously said, “All art constantly aspires towards the condition of music.” Korman’s paintings exist in a musical state.
The pleasure Ryman took in seeing and sensing the world of things so closely is what viewers who are open to his work will take away.
Jule Korneffel is not after denial in her paintings but rather affirmation, even in these chaotic, seesawing times.