Features
 
Excerpted from monograph on her work published by Hamilton College ...
 
Ohad Meromi, still from Worker! Actor! Smoker!, 2010-13. Single-channel video, 20:36 minutes. Courtesy of the artist, Galerie Triple V, and Nathalie Karg.
Ohad Meromi’s exhibition at Nathalie Karg continues through August 15. ...
 
David Lynch, Espresso Table, 1988. Birch plywood, steel, steel wire with turnbuckle, 18 x 13 x 13 inches. Courtesy of the artist and Room East.
Who knew David Lynch also designs furniture? ...
 


Meredith Allen, Untitled, 2008

Meredith Allen at Edward Thorp Gallery


Meredith Allen at Edward Thorp Gallery


Katia Santibanez, Between the Waves, 2008. Acrylic on wood, 24 x 24 inches. Courtesy Danese

Katia Santibañez at Danese


Katia Santibañez at Danese


Willard Boepple, Burnley, 2008. Poplar, 29 x 60 x 21 inches

Willard Boepple at Lori Bookstein Fine Art


Willard Boepple at Lori Bookstein Fine Art


Patricia Treib, Icons, 2008. Oil on canvas, 66 x 50 inches, courtesy John Connelly Presents

Patricia Treib at John Connelly Presents


Patricia Treib at John Connelly Presents


Ying-Li, Jim, 2007. Charcoal on paper, 30 x 23 inches. Courtesy of the Artist

Ying Li at the Painting Center


Ying Li at the Painting Center


Giorgio Morandi, Giorgio Morandi, Still Life (Natural Morta) 1953. Oil on canvas, 8 x 15-3/4 inches, Washington DC, The Phillips Collection © Giorgio Morandi by SIAE 2008

Giorgio Morandi: Resistence and Persistence


GIORGIO MORANDI: Resistence and Persistence BY SEAN SCULLY On the occasion of Giorgio Morandi 1890-1964 at the Metropolitan Museum of Art, September 16 to December 14, 2008, we post abstract painter Sean Scully’s 2005 essay on his Italian forebear. This essay was first published in Sean ScullyResistance and Persistence: Selected Writings Edited by Florence Ingleby, (Merrell,…


Will Cotton in his New York studio, 2008, photograph by Greg Lindquist

Will Cotton


I was reading about Frederick Church and that he had visited the American West and South America– these, which were at the time, very exotic places. And then he made paintings of these places that people had never seen before. And in doing so, introduced this entirely new landscape to the public that people were very excited to see. And I thought, Wow, that’s exactly what I want to do: to build a table-top landscape in the studio and then make paintings of it. So the paintings become a record of this exotic place that existed temporarily, but something no one will ever see in person.


Brenda Goodman, Self-Portrait 4 2004 oil on wood, 64 x 60 inches (diptych)

Brenda Goodman


I had Kiki Smith over when I had just finished these and she said, You know, you should approach some galleries from a revisionist point of view because usually it’s a male in the studio with a model, or a male at the easel, and here you’re a nude figure in your own studio with all your paintings and your tools around you. There aren’t many paintings like that, she said. So I thought, well that’s interesting, that’s not something I was thinking about—I was thinking about what I feel in my studio, the vulnerability.


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Barbara Yoshida


You started your career as a painter and sculptor, and first became involved in photography with a project you did making portraits of women artists in New York City. I felt that male artists were photographed a lot, and I wasn’t seeing as many representations of women artists, and those that I did see weren’t…


Mark di Suvero and Rirkrit Tiravanija (and invited artists), Peace Tower, installation at Whitney Museum

Whitney Biennial and Tate Triennial 2006


It may not be a fair comparison but you can’t help wondering: How can the Whitney Biennial be so exciting and the Tate Triennial so tedious when both are showcasing the same kind of contemporary art on either side of a well-traversed pond?