Bigindicator

tagged: abstract
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Announcing: ArtSlant Prize IX Round 3 Juried Winners!

by The Artslant Team
Check out the Round 3 Juried Winners! Round 4 is now open! Apply today for your chance at $5k in prizes! To apply, go to your ArtSlant profile and click enter contest.   Round 3 Jurors: Miguel Leal Rios is the director and curator of the Leal Rios Foundation | Contemporary Art. Junho Lee is the Director of the NARS Foundation. Kerry Doran is a writer, editor, and curator based in New York. She is the director at Postmasters Gallery.   Round 3 Juried... [more]
Posted by The Artslant Team on 4/24
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Jakub Pasierkiewicz Answers 5 Questions

by The Artslant Team
Jakub Pasierkiewicz. What are you trying to communicate with your work? In my practice—be it photography, painting, or drawing—I try to recreate an idea which appears through thorough observation of the surrounding world. In other words, if we agree that vision is something abstract, something that is invisible and represents an individual need to self-express, then art becomes a tool enabling us to capture our ideas. Through art I try to translate my experience into the image. I... [more]
Posted by The Artslant Team on 1/23
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The Artist Positioning Himself as Richter’s Crown Prince

by Edo Dijksterhuis
Next year Eberhard Havekost turns fifty: time to balance the books. The press release for his current solo at KINDL positions Havekost “among the most important German artists of his generation.” The artist himself probably doesn’t agree with an accolade this generic, especially when it’s accompanying the kind of self-confident display of painterly power that is . The show takes up two full floors and doesn’t leave much wall space unused. The works on show are so diverse, they could have been... [more]
Posted by Edo Dijksterhuis on 11/20/16
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Shown After 35 Years, Steve Kahn's Mysterious Photo-Constructs Are a Revelation in Abstraction

by Peter Cochrane
If I were to ask you to tell me about an artist who worked within the architecture of rundown lodgings in Los Angeles in the 1970s, you might come back to me with a famous man who has spoken about his time working in the Mendota Hotel: James Turrell. If I were to ask you to guess again, you might shrug your shoulders and tell me how bored of my game you are. “Oh,” I would say with a lilt in my voice and a spark in my eye, fueled by your disinterest, “oh what you don’t yet know!” Steve Kahn... [more]
Posted by Peter Cochrane on 8/24/16
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Looking at, and Through, Photography

by Peter Cochrane
Ivan Iannoli uses photography as a catalyst. He uses its unique scientific, artistic, and mechanical histories: as the standardization of the width of a film negative begat photographic paper sizes; as precut acrylic sheets fit perfectly into manufactured frames; as the industrial revolution set into motion the uniformity of items that were previously made to order. He taps into the ways in which artists before him have advanced photography beyond its material constraints—in the way that, say,... [more]
Posted by Peter Cochrane on 7/5/16
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The Sublime Delinquency of Barbara Rossi’s Poor Traits

by Stephanie Cristello
There is nothing reductive or insignificant about Barbara Rossi’s , a collection of paintings under the homophonic title that refers to the artist’s portrait-like compositions, currently on view in the DePaul Art Museum’s second floor galleries. In a series of graphite drawings from the late 1960s and reverse Plexiglas paintings from the early 1970s, Rossi’s works are some of the more enigmatic examples of the Chicago Imagists. As this exhibition makes clear, Rossi’s twentieth century... [more]
Posted by Stephanie Cristello on 5/24/16
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Aukje Dekker Makes Patrons Decide When Her Paintings Are Finished—And It Could Cost Them

by Edo Dijksterhuis
I’m not a gambling man by nature, never quite understood the allure of the blackjack table or roulette wheel. But when Aukje Dekker invited me to a game of I couldn’t resist. The game starts at 150 euro. Dekker’s ante is an empty canvas. When she adds something to the painting my deposit increases by 50 euro. At every stage she asks me whether I’ll “stick”—in other words, buy the work as is—or “twist,” and go for another round. It’s like playing chicken in an artist’s studio: the painting is... [more]
Posted by Edo Dijksterhuis on 4/1/16
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Lessons from the Studio: What I Learned Working Summers for Ellsworth Kelly

by Matthew Garrison
While studying in Paris following WWII, Ellsworth Kelly, recognized internationally by scholars, artists, and museums as one of the most influential artists at the turn of the millennium, unlocked a new kind of abstraction through his isolation of the discreet forms he observed in the world around him. It was during this period that Kelly made the seminal 1949 painting, , in which he eliminated brushwork and transitioning values, leaving four white and gray rectangular shapes bounded by heavy... [more]
Posted by Matthew Garrison on 2/19/16
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The Peaks Only I Can See: Rachel Garrard

by Himali Singh Soin
looks, on one hand, like an anatomical drawing of weight and balance, and on the other, like a tree, a constellation, a system of before and after, a ladder or a scale. The criss-crossing lines perhaps allude to earthly entanglements and the elusiveness of total symmetry. Like the drawing, its analysis might be equally simple and complex. It is no wonder then, that Da Vinci is one of Rachel Garrard’s influences. In her art, the human body and mind and the unseeable unknown become a microcosm... [more]
Posted by Himali Singh Soin on 12/2/15
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The Whiteness of the Whale: Reframing Frank Stella's Long Pursuit of Painting

by Bradley Rubenstein
We cannot begin any assessment of the work of Frank Stella without the obligatory quote that has followed his career for over fifty years. “What you see is what you see” was Stella’s painterly philosophy distilled down to seven words. If there is a definition of Minimalism that is more succinct, it has yet to replace Stella’s as a key to understanding a certain type of particularly American painting in mid-century art history. At the Whitney Museum we have a chance to carefully review Stella’s... [more]
Posted by Bradley Rubenstein on 11/23/15