tagged: acrylic

From Censored to Celebrated: An Interview with Betty Tompkins

by Ana Finel Honigman
Before Jeff Koons, Thomas Ruff, Terry Richardson and their raffish ilk appropriated porn for high-art settings, Betty Tompkins was meticulously reproducing scenes of heterosexual penetration in pencil, acrylic, airbrush and ink. Her monochrome images make it clear that porn, not real-life sex, is her subject and underscore the harsh binary responses to her controversial subject and artwork, and to her identity as a woman artist. Tompkins’ large-scale images of furry, shaved and pierced... [more]
Posted by Ana Finel Honigman on 3/9/14

“Casual Stripes and Warm Layers”

by Ryan Wong
Among rising gallery rents and the endless expansion of larger cultural institutions in New York, micro-spaces like ArtBridge’s Drawing Room offer a respite. , curated by Jordana Zeldin, is a bite-sized summer exhibition that explores a wing of New Casualism. The smallness of the space – it was once a closet – is suited to the works on display: they are approachable objects, and converse comfortably with each other. Casualists tend towards the jokey and intentionally timid, but the three... [more]
Posted by Ryan Wong on 8/6/13

Subverting Society: Autonomy in the Portraiture of Barkley L. Hendricks

by Alexandra Giniger
One might assume that the power of the artist lies in his ability to create his subjects. The series of portraits shown in Barkley L. Hendricks’ Heart Hands Eyes Mind, however, finds its unique authority in the artist’s capacity to allow his characters to define themselves. Rather than dictating the terms of their appearances, Hendricks seems to paint his subjects as they themselves would elect to be seen. The result is exhilarating; there is something fundamentally liberating in the... [more]
Posted by Alexandra Giniger on 3/12/13

Look out for the unicorn

by Kara Q. Smith
After going to this show, I spent the next two days holed up reading Rebecca West’s Black Lamb and Grey Falcon: A Journey Through Yugoslavia. In around 1200 pages, West details her journey with her husband to Yugoslavia after World War One. Indistinguishable between fiction and non-fiction, she tells stories of past and present lives and experiences, bridging the distance between the reader and the experience. The story opens on a train: I could not have gone on to justify my certainty that... [more]
Posted by Kara Q. Smith on 3/9/13

Materiality and Surface: abstracting form

by Courtney R. Thompson
Director/Curator Mary Reid’s counterview of contemporary artistic practice in Winnipeg pleasantly interrupted a reverie of city-centric exhibitions asserting legacies and mythologies of local artists and art production. The Winnipeg Art Gallery, of which Reid left her own legacy as Curator of Contemporary Art from 2004-2011, celebrates Winnipeg Now (September 29 –December 30, 2012), while Plug In Institute of Contemporary Art is currently midway through My Winnipeg Project: a series of four... [more]
Posted by Courtney R. Thompson on 1/24/13

Technique only goes so far...

by D. Dominick Lombardi
I cannot help but think of the more commercial, often palette knife-painted, construction-based abstractions of the 1960s as I first walk into the exhibition at CRG Gallery. That is not good. As references go, you want to try to avoid the kitschier techniques, the ones that rely too heavily on dazzling their audience solely with technique, unless you plan to make a commentary about esthetics, or, you are intentionally trying to tweak your audience to get their attention, with the intention of... [more]
Posted by D. Dominick Lombardi on 1/20/13

From Mounds to Memory

by Lori Zimmer
Trenton Doyle Hancock has spent a majority of his career creating works based on a Darger-esque fantastical narrative of his mind--the world of the meat-loving Mounds and their evil counterparts, the Vegans. For his latest show, “ …And Then It All came Back to me” at James Cohan Gallery, the artist has departed from his ten-year narrative focus, and instead decided to delve into the long tradition of creating work based on personal memory. The subject of analyzing the self may induce eye rolls... [more]
Posted by Lori Zimmer on 11/29/12

Watchlist Artist: Mimi Chen Ting

During summer 2012 the Curator's Wall will feature a work by Mimi Chen Ting entitled at Harwood Museum of Art from July 7 till Oct. 14, 2012.  This work, created in 2012, measures 192" x 54" and consists of four panels of acrylic, charcoal, and graphite on canvas. Between Space 'n Time, Mimi Chen Ting’s latest painting, is another step taken in her long journey as an artist. It is her habit, upon completing a piece, to reflect and acknowledge the influences that have helped to deliver her... [more]
Posted by Abhilasha Singh on 7/3/12

Mick Peter, Tao Foam

by Nicola Bozzi
Mick Peter likes to explore the painterly quality of sculpture, and the sculptural quality of painting. He illustrates his own illustrations, turning them from CD covers (that he makes for his friends, the band Socrates) to strange reproductions of three-dimensional paper figures. He creates images, transforms them into patterns, then uses them to build walls. Most of the pieces that constitute Tao Foam reference something the artist originally created in another form, material, or medium. The... [more]
Posted by Nicola Bozzi on 12/18/11

Interview with Stefan Eins

by Natalie Hegert
— Stefan Eins finds art in some of the most unlikely places. In 1978, Eins opened an art space called FASHION 時裝 MODA МОДА* in the South Bronx, in a neighborhood that, at the time, more closely resembled a bombed-out war zone than a borough of New York. Fashion Moda (1978-1993)  was a “museum of science, art, invention, technology and fantasy,” and he and his co-director Joe Lewis subscribed to the radical (still) notion that art could be made by anyone, anywhere, regardless of race, class,... [more]
Posted by Natalie Hegert on 12/11/11
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