Thomas Nozkowski believed that each person’s experience of the everyday was fundamentally unique and set out to honor that in his work.
When Clement Greenberg, Frank Stella, and Donald Judd tried to define what makes a painting, they overlooked a central feature — capaciousness.
It is possible to imagine an essay devoted solely to the myriad ways Nozkowski uses paint.
It is the beginning of a new year and for some reason I have been thinking about flower paintings — perhaps prompted by the flower paintings that Edouard Manet made while he was dying.
Tom Nozkowski and Joyce Robins are married, and I have admired the work of both for years. When I asked them to be the first “Beer with a Painter” subjects interviewed jointly as a couple, they were completely game.
HUDSON, NY — River Crossings, the recently opened show up at the historic Thomas Cole House and Olana, Frederic Edwin Church’s architectural ode to Orientalism, over-promises and under-delivers.
Simply titled Thomas Nozkowski, this is the artist’s fourth solo exhibition at Pace Gallery since 2008, when he first joined the gallery, and this time he has pulled out all the stops.
Thomas Nozkowski wasn’t thinking about Philip Guston’s “Untitled” (1980) while he was working on “Untitled (9-21)” (2012), but the number of formal attributes they share — from size to composition and imagery — has proven hard for me to ignore. It was while I was looking at Nozkowski’s “Untitled (9-21)” at his exhibition at Russell Bowman Art Advisory (April 12 – June 15, 2013) in Chicago that a specific Guston work came to mind. Shortly after I got back to New York, I checked to see whether or not my memory had been playing tricks on me. It hadn’t.
The new paintings of Andrew Masullo, now at Mary Boone Gallery in conjunction with Feature Inc., outwit, defy, and make gallery-going fun again.
By 1974, Thomas Nozkowski had made two decisions – he would paint on widely available, 16 x 20-inch, prepared canvas boards, and everything he painted would come from personal experience.
If there is one constant about Thomas Nozkowski that I would single out, it is his lifelong insistence on subverting conventions. In 1974 he began painting on canvas board measuring 16 by 20 inches. (Let’s be clear here — Bill Jensen never painted on this small a surface because it had no historical precedence). He used an inexpensive, mass-produced product, the same kind that comes in “paint by number” kits and carries associations with “Sunday painters.” No wonder his defiance went largely unnoticed, particularly when the ’80s rolled around.
I set out with the intention of seeing these shows, so I wouldn’t call it synchronicity, but the simultaneous exhibitions of David Goerk and Martha Clippinger in the same building, just one floor apart, did get me thinking about art making that is concerned with the realm between painting and sculpture — from della Robbia’s bas reliefs to early modernism (Hans Arp) to contemporary art (Stuart Arends, Ellsworth Kelly, Jim Lee, and Richard Tuttle).