Gelah Penn, detail, "The Big Red One," 2013, Mosquito netting, silicone & latex tubing, plastic tarp, monofilament, ping-pong ball, acrylic. Courtesy of the artist.

I begin thinking about a site-responsive installation in terms of delineating discrete areas of sculptural marks hewing closely to the walls. These zones are constructed with simple synthetic materials—mosquito netting, fishing line, plastic tarps—that give my vocabulary physicality, but don’t weigh it down. Materials that can be manipulated into varied configurations help me navigate and […]

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© Joan Waltemath. Detail from Hionas Gallery installation. Courtesy of Hionas Gallery.

“…[M]y work has always been concerned with a physical relationship with the body and how the body negotiates the world and receives a painting – through movement,” Joan Waltemath said in conversation with painter Gordon Moore. Joan Waltemath’s paintings and drawings proceed from a deep understanding of how the body engages art—how their surfaces trigger […]

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The transformation of dirt on a surface into a world of light, air, weight, space, movement — that’s art. That’s the beginning and the end. That’s not to be avoided. Georges Seurat, the Artist’s Mother, 1882-83, conté crayon on paper. Images in this article are included under the fair use exemption. This Seurat, Giacometti and […]

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Jay DeFeo, "Untitled (White Spica)," 1973. Gelatin silver print 8 3/4 x 7 3/8 in. (22.2 x 18.7 cm.) MI&N 11792 ©The Jay DeFeo Trust/Artists Rights Society (ARS), New York. Courtesy of Mitchell-Innes & Nash, NY.

The exhibition is a stunner, mostly because it’s DeFeo’s unremitting investigatory impulse and deft handling of (sometimes-) antagonistic media — rather than the handful of forms and objects that became both cast and crew in her work — that’s really the subject here. Jay DeFeo, “Untitled (White Spica),” 1973 Gelatin silver print 8 3/4 x […]

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I feel the work in my body. I feel it. I don’t know how to exactly express that, how to translate that into language. But most people confuse emotions in art with sentiment, and I’m out to crack that one. Dorothea Rockburne, “Scalar,” 1971. © 2014 Dorothea Rockburne / Artists Rights Society (ARS), New York. […]

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…its failure reveals the exact element I want to express. In this sense I want to focus on drawing’s inherent nature of being intimate and immediate, unstable, alive. This quality of drawing, exposed through revealing the process, opens space for the viewer to experience an organic moment of tension, just like every moment in nature. […]

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