Stephen Westfall seems to be the geometric painter who cannot do variations on a motif, which gives his work an interesting twist.
While writers have drawn a line, so to speak, between Soriano and Sol LeWitt, it seems to me that there are profound differences between their wall drawings. Whereas LeWitt’s self-contained works make no reference to the changes of everyday life, Soriano’s are based on time, light, and shadows cast by real things.
Ten years ago, in an interview that I did with Stephen Westfall, he said that he was interested in a skewed grid because it looked as if “the whole thing could tremble and be knocked over.”
There is a special opportunity right now in Chelsea to explore the color blue.
There are currently two exhibitions of Joan Mitchell’s paintings and drawings on the same Chelsea street. Taken together, they offer an extended examination of a painter’s process as her sensibilities shift from a dominant mode expression to something altogether different.
SAN FRANCISCO — “ … Instead of feelings or human adventures,” wrote Francis Ponge, the French Surrealist “poet of things” in 1942, “I choose as subjects the most emotionless objects available.”
I went to Stephen Westfall’s exhibition, Jesus and Bossa Nova, at Lennon, Weinberg (November 7, 2013–January 4, 2014) twice on the same day. The second time I walked through the gallery’s long narrow space verified my initial thought, which is that the layout of the exhibition could be read as a narrative that revealed Westfall’s movement from pattern and repetition to a far more complex and engaging compositional possibility.
Artist Denyse Thomasos, whose semi-abstract paintings evoke an architecture of floating cities, died suddenly yesterday. The cause was an allergic reaction during a diagnostic medical procedure.