When it comes to photography, I’m a Gary Winogrand kind of guy. I like it spontaneous, fleeting, and unpremeditated. Like a good haiku. But I love Gregory Crewdson, whose shots are as artificial as a movie full of FX. Go figure. I first encountered him, without knowing anything about him, when I bought the Yo [...]
Continue reading Edward Hopper meets Spielberg
Seniors wearing nature on their heads. Some great shots.
Continue reading Cooler than that CIA guy’s wig
Thomas Insalaco’s new painting, on view at Oxford through June 1, is a beauty. It feels like a step into a new frontier for him, an advance toward something even more intriguing than what he’s done up until now. I’d walked through most of the show before I finally paused in front of this large oil, [...]
Continue reading Insalaco steals the show
Give her a strand of your hair and she’ll do your portrait.
Continue reading To see the world in a grain of sand . . .
Hanley Farm, located on Hanley Road in Central Point, is hosting “Artist Day at the Farm,” Sunday, June 16. This is our tribute to local artists! Come out, paint, take photos – whatever your passion, we invite you to practice your craft at the perfect setting – beautiful Hanley Farm. There’s so much to stimulate your creativity – heritage livestock, featuring Icelandic sheep and Toggenburg goats; chickens; Bob the Peacock!, farmhouse; barns; water tower; historic outbuildings; farm stand; AND so much more!
Continue reading Artist Day at Hanley Farm
Susan Sills has a delightful solo show of her work from the past two decades at Viridian Artists, perfectly titled Cutting Loose. It’s really two different shows in one, based on her cut-out portraits and figures—life-sized, enlarged pastiches of people lifted from paintings by modernists and Old Masters, painted on birch plywood. The main installation [...]
Continue reading Cutting Loose with Susan Sills
A great reflection on how an artist statement can actually help, without sounding pretentious, obscure or condescending from Hyperallergic: “I challenge artists to stop looking outside for language and to start digging on the inside for why they do what they do. No one else knows what gets you up in the morning and [...]
Continue reading Why artist statements help
As part of his In Process series, Paul Behnke posts a photo-blog about the development of painter James Erikson’s Slow Morning (2012).
Of his work Erikson says: “My paintings are abstractions in the sense that at some point in the painting process I’m abstracting from nature, whether consciously at the beginning or through some experience or memory I bring into the studio during the evolution of the painting. Sometimes the painting reminds me of something, a particular mood or memory of a place and it won’t go away — that becomes the subject of the painting for me.”
Continue reading James Erikson: In Process
Michael Bise interviews Emma Biggs & Matthew Collings on the occasion of the exhibition Biggs and Collings: Suspicious Utopias at Fort Worth Contemporary Arts, on view through May 11, 2013.
Biggs and Collings comment: “At the moment in art culture, any proposal to do with “form” is considered bad. As something transcendent, it is automatically linked with considerations of ideology and hegemony, and is seen as an illusion that allows the viewer to remain blind to social realities. Hot contemporary art is interested in plugging in directly to those, and in this kind of art, form can be anything so long as it is explicable in terms of that connection. We, on the other hand, believe that plugging-in to social realities is often an illusion. We think institutional critique, for example, has become formulaic. We address this problem in the textual component of our show in Fort Worth. Our paintings don’t avoid difficult issues but neither do they spell them out as directly readable propaganda. We look at the material and the tangible. Things have to work: the colour has to be objective, it has to be meaningful on colour terms – the same with shape, line, tone – all the elements we use. We attack mystification ruthlessly. If there are comfortable illusions, we see our work as a blow against them.”
Continue reading Emma Biggs & Matthew Collings: Suspicious Utopias