Facture is neither painterly nor hard-edged geometric, but in between–straight edges that nonetheless exude life.
She seems to be simultaneously poking fun at tradition and at the same time leveling a serious challenge against it, all the while acknowledging that she cannot simply reject her artistic heritage.
October 23, 2009 at the National Academy Museum and School of Fine Arts, New York Bill Berkson, Bridget Goodbody and Robert C Morgan joined David Cohen to review exhibitions of Vincent Fecteau, Alex Katz, Rafael Lozano-Hemmer and Yigal Ozeri.
Seldom has a better synthesis been achieved among raw power, exquisite color, and the organizing effects of line.
Green’s current paintings supplant his earlier “limited animation” mock-mayhem with the saturated glazes and rendered anatomies of a Golden Age chipmunk fable.
If we are hesitant to use a term so absolute as “the absolute,” we can, even so, acknowledge the extreme philosophical drive in Kurahara’s esthetic.
To Walker and Bradford alike, density of visual information is an aesthetic choice that mirrors the mutliple layers of reality and complexity retrieved from subject matter.
“Black has an inner sound of nothingness bereft of all possibilities…”
— Vasily Kandinsky, On the Spiritual in Art (1910)
Saving the imagery from what we might call barbarous chaos is Penck’s highly skilled orientation and spacing of the visual components of an individual work.