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Friday, December 21st, 2018

Podcast of December’s edition of The Review Panel


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Harriet Korman: Permeable/Resistant
Thomas Erben Gallery, 526 West 26th Street, Fourth Floor, New York

Phyllida Barlow: tilt
Hauser & Wirth, 548 West 22nd Street, New York

Penelope Umbrico: Monument
BRIC, 647 Fulton Street, enter on Rockwell Place, Brooklyn

Glenn Goldberg: Beach and Quiet (a rest stop)
Studio 10, 56 Bogart Street, Brooklyn

Timings: Introductions and Barlow discussion followed by Umbrico at 30mins; audience responses to the first two shows at 47mins; Korman at 1h; and Goldberg at 1h23mins, followed by second round of audience responses.

Next panel: February 13, 2019

Harriet Korman, Untitled, 2015. Oilstick on paper, 12 x 16 inches. Courtesy of Thomas Erben Gallery

Harriet Korman, Untitled, 2015. Oilstick on paper, 12 x 16 inches. Courtesy of Thomas Erben Gallery

 
  • Harriet Korman

    My Two Cents
    Thanks to everyone who spent some time looking at my work. I had a few thoughts I wanted to add to the discussion.
    In terms of liking a color; looking at painting is not like picking out a shirt. It’s irrelevant whether you like a color or not, it actually might be better if you don’t.
    In terms of whether a work is contemporary or modernist; one of the objectives of this work was to assert the relevancy of geometric abstraction/hard edge abstraction in the present. These periods are not used up. Sometimes it seems like all painting happens in the present. An artist I recently enjoyed discovering was Flora Crockett 1892-1979. Also, while working on my last two bodies of work, I noticed I was thinking about Cezanne quite a bit — stroke by stroke.
    Claustrophobia? A title I was considering for the show was “Inside the Box”.
    Whether a work is a painting or sculpture is an interesting question that can add to it’s appreciation. I think the two are somewhat intertwined; I am very concerned with the flat plane and sometimes wonder if I’m a sculptor.
    If you see my work as “Op” or psychedelic because of the bright colors you are not getting it. The colors are being used for a conceptual reason, not sensually. It is the why not the what that is important.
    The feelings in the paintings might have to do with their making /the process; what is being experienced, discovered.

    January 4, 2019

  • Harriet Korman

    My Two Cents
    Thanks to everyone who spent some time looking at my work. I had a few thoughts I wanted to add to the discussion.
    In terms of liking a color; looking at painting is not like picking out a shirt. It’s irrelevant whether you like a color or not, it actually might be better if you don’t.
    In terms of whether a work is contemporary or modernist; one of the objectives of this work was to assert the relevancy of geometric abstraction/hard edge abstraction in the present. These periods are not used up. Sometimes it seems like all painting happens in the present. An artist I recently enjoyed discovering was Flora Crockett 1892-1979. Also, while working on my last two bodies of work, I noticed I was thinking about Cezanne quite a bit — stroke by stroke.
    Claustrophobia? A title I was considering for the show was “Inside the Box”.
    Whether a work is a painting or sculpture is an interesting question that can add to it’s appreciation. I think the two are somewhat intertwined; I am very concerned with the flat plane and sometimes wonder if I’m a sculptor.
    If you see my work as “Op” or psychedelic because of the bright colors you are not getting it. The colors are being used for a conceptual reason, not sensually. It is the why not the what that is important.
    The feelings in the paintings might have to do with their making /the process; what is being experienced, discovered.

    January 4, 2019

    • Harriet Korman

      I couldn’t find the place to put my comment (above) so David entered it for me.
      Harriet Korman