The paintings of Apostolos Georgiou make a break with contemporary painting by possessing a self-styled humor that slips right past how we think about humor itself.
Any painter who doesn’t find painting difficult should be treated with suspicion. Managing real challenges, as opposed to affected ones, should be the root of an artist’s style, by choice or by consequence. The work of Logan Grider has always struck me as bound up in tensions that are either invited or just endured.
The art of Carol Szymanski is based in language, bound up in the syntax of human communication, without being reduced to it. And the work is certainly conceptual.
Editor’s Note: This is the second in a series of interviews with artists that will continue indefinitely, without direction, and without any one person’s control. The artists are asked seven question about their art and their ideas about art.
Editor’s Note: This is the first in a series of interviews with artists that will continue indefinitely, without direction, and without any one person’s control. The artists are asked seven question about their art and their ideas about art.
The new paintings of Andrew Masullo, now at Mary Boone Gallery in conjunction with Feature Inc., outwit, defy, and make gallery-going fun again.
The close relationship that art and religion maintained for several millennia has in recent decades eroded so drastically that it’s difficult to imagine fine arts and contemporary religion having anything in common. Art is, on the whole, a secular enterprise, and religion is frequently more anesthetic than aesthetic in character. The two worlds happily foster vulgar understandings of each other almost to a point of pride. Some might even suggest that adherence to one entails a rejection of, or at least critical distance from, the other. But not everyone is content with this scenario.
Over the course of her 35-year career, Altoon Sultan has gone completely end-to-end across the landscape-abstraction continuum.