By Any Means Necessary: Q&A with Chip Allen
Chip Allen’s letting loose. He’s squeegeed, splattered, and gesturally brushed over his geometric abstractions, and by the looks of it action painting’s winning out. His loose, intuitive marks and smudges run interference across seemingly systematic lines, the resulting balance a taut
By Any Means Necessary: Q&A with Chip Allen
Chip Allen’s letting loose. He’s squeegeed, splattered, and gesturally brushed over his geometric abstractions, and by the looks of it action painting’s winning out. His loose, intuitive marks and smudges run interference across seemingly systematic lines, the resulting balance a taut
A Colorful Language: Paintings by Mel Bochner at the National Gallery of Art
The Tower Gallery at The National Gallery of Art in Washington, D.C. is currently exhibiting a collection of Bochner’s recent Thesaurus Paintings and preparatory drawings alongside his early and precursory text-based Portraits (1966-1968). With regard to Bochner’s recent work, NGA curator James Meyer observed of Bochner’s recent paintings, “a kind of American Realism has entered Conceptualism’s back door.”
A Colorful Language: Paintings by Mel Bochner at the National Gallery of Art
The Tower Gallery at The National Gallery of Art in Washington, D.C. is currently exhibiting a collection of Bochner’s recent Thesaurus Paintings and preparatory drawings alongside his early and precursory text-based Portraits (1966-1968). With regard to Bochner’s recent work, NGA curator James Meyer observed of Bochner’s recent paintings, “a kind of American Realism has entered Conceptualism’s back door.”
Historical Lineage: Q&A with Matthew Craven
Much of Matthew Craven’s meticulous work exists as both colorful abstraction and surreal historical document. His transformation of images appropriated from history textbooks nudge and reconfigure the original historical narratives. And his modular treatment of familiar forms unexpectedly activates their hidden potential
Historical Lineage: Q&A with Matthew Craven
Much of Matthew Craven’s meticulous work exists as both colorful abstraction and surreal historical document. His transformation of images appropriated from history textbooks nudge and reconfigure the original historical narratives. And his modular treatment of familiar forms unexpectedly activates their hidden potential
Progress Report: Q&A with Kris Chatterson and Vince Contarino
Give it time and the Internet will mobilize for change in just about any arena. So it’s not surprising that artist-run exhibition spaces — always bastions of change — are increasingly striving for a stronger onlinepresence, sometimes even eschewing fixed brick-and-mortar
Progress Report: Q&A with Kris Chatterson and Vince Contarino
Give it time and the Internet will mobilize for change in just about any arena. So it’s not surprising that artist-run exhibition spaces — always bastions of change — are increasingly striving for a stronger onlinepresence, sometimes even eschewing fixed brick-and-mortar
The Writing’s on the Wall: Q&A with David Kramer
Considering current events, it may be easy to wonder if David Kramer’s paintings have a slight political bent. Much like the characters in his work, we’ve had to collectively reassess our own aspirations amid the failed promises of the credit and housing bubbles. But
The Writing’s on the Wall: Q&A with David Kramer
Considering current events, it may be easy to wonder if David Kramer’s paintings have a slight political bent. Much like the characters in his work, we’ve had to collectively reassess our own aspirations amid the failed promises of the credit and housing bubbles. But
Highlights from (e)merge: the Artists Platform
Unlike the gallery platform, two-dimensional works were a bit less common in the artist platform at (e)merge. It’s not surprising — in their call to artists the organizers expressed an interest in site-specific work that engaged with the idiosyncrasies of a hotel setting.
Highlights from (e)merge: the Artists Platform
Unlike the gallery platform, two-dimensional works were a bit less common in the artist platform at (e)merge. It’s not surprising — in their call to artists the organizers expressed an interest in site-specific work that engaged with the idiosyncrasies of a hotel setting.
Highlights from (e)merge: the Gallery Platform
(e)merge kicked off with a preview and poolside party on Thursday evening. Featuring two platforms, one for galleries and the other for unrepresented artists, the fair occupies the first three floors of the Capitol Skyline Hotel as well as the lower
Highlights from (e)merge: the Gallery Platform
(e)merge kicked off with a preview and poolside party on Thursday evening. Featuring two platforms, one for galleries and the other for unrepresented artists, the fair occupies the first three floors of the Capitol Skyline Hotel as well as the lower
D.C.’s Fair Share: Q&A with the organizers of (e)merge
The Capital Skyline Hotel, site of the (e)merge art fair. Image courtesy of (e)merge. The (e)merge art fair (September 22 – 25, 2011) — founded and organized by Conner Contemporary Art co-directors Leigh Conner and Jamie Smith, as well as by Helen Allen, founder and former
D.C.’s Fair Share: Q&A with the organizers of (e)merge
The Capital Skyline Hotel, site of the (e)merge art fair. Image courtesy of (e)merge. The (e)merge art fair (September 22 – 25, 2011) — founded and organized by Conner Contemporary Art co-directors Leigh Conner and Jamie Smith, as well as by Helen Allen, founder and former
Strokes and Stencils: Maggie Michael at G Fine Art
Gestural abstraction perseveres, and in Washington, D.C. few artists have been as attuned to its provisional potential as Maggie Michael (NAP #94). With There is No Rising or Setting Sun, Michael’s fourth solo show at G Fine Art, the artist has largely left the drips and splatters behind in
Strokes and Stencils: Maggie Michael at G Fine Art
Gestural abstraction perseveres, and in Washington, D.C. few artists have been as attuned to its provisional potential as Maggie Michael (NAP #94). With There is No Rising or Setting Sun, Michael’s fourth solo show at G Fine Art, the artist has largely left the drips and splatters behind in
Size Matters: Chris Martin paints big at the Corcoran
It’s easy to see Chris Martin’s interest in outsider art. In fact, it’s often written directly onto his work. A close inspection of the collaged paintings in his monumental installation in the Corcoran Gallery’s atrium yields, among other things, a newspaper clipping noting the death
Size Matters: Chris Martin paints big at the Corcoran
It’s easy to see Chris Martin’s interest in outsider art. In fact, it’s often written directly onto his work. A close inspection of the collaged paintings in his monumental installation in the Corcoran Gallery’s atrium yields, among other things, a newspaper clipping noting the death
That thing you do: 10 questions for Nudashank
If Paddy Johnson calls you a star, you must be doing something right, and lately it seems like Nudashank can’t miss. Most recently it was Out of Practice, a group show artist-run gallery curated at the temporary Art Blog Art Blog exhibition space in Chelsea, which gathered a
That thing you do: 10 questions for Nudashank
If Paddy Johnson calls you a star, you must be doing something right, and lately it seems like Nudashank can’t miss. Most recently it was Out of Practice, a group show artist-run gallery curated at the temporary Art Blog Art Blog exhibition space in Chelsea, which gathered a
Material Crescendo: Frank Stella at the Phillips Collection
Frank Stella doesn’t play second fiddle, but for Wassily Kandinsky he’ll play second harpsichord. Well, sort of. Currently on display at The Phillips Collection in Washington, D.C. is Stella Sounds: The Scarlatti K Series, a subset of the painterly sculptures the artist originally exhibited at Paul Kasmin
Material Crescendo: Frank Stella at the Phillips Collection
Frank Stella doesn’t play second fiddle, but for Wassily Kandinsky he’ll play second harpsichord. Well, sort of. Currently on display at The Phillips Collection in Washington, D.C. is Stella Sounds: The Scarlatti K Series, a subset of the painterly sculptures the artist originally exhibited at Paul Kasmin
Capitol ideas: Heiner Contemporary opens in D.C.
With a few exceptions, most art galleries left the DC neighborhood of Georgetown ten years ago in search of cheaper rent. Many of them settled on the 14th Street corridor and the 1515 building before gentrification and skyrocketing rents recently pushed some of the bigger players toward
Capitol ideas: Heiner Contemporary opens in D.C.
With a few exceptions, most art galleries left the DC neighborhood of Georgetown ten years ago in search of cheaper rent. Many of them settled on the 14th Street corridor and the 1515 building before gentrification and skyrocketing rents recently pushed some of the bigger players toward
The Shape of Things to Come
NUDASHANK’s progressive bent can make most local commercial galleries seem downright uncouth. Arguably the crown jewel of Baltimore’s thriving DIY artist-run spaces, NUDASHANK routinely showcases emerging artists that are on a firm upward trajectory, like Nick Van Woert, Matthew Craven, Alex Lukas, and Benjamin Edmiston. Currently
The Shape of Things to Come
NUDASHANK’s progressive bent can make most local commercial galleries seem downright uncouth. Arguably the crown jewel of Baltimore’s thriving DIY artist-run spaces, NUDASHANK routinely showcases emerging artists that are on a firm upward trajectory, like Nick Van Woert, Matthew Craven, Alex Lukas, and Benjamin Edmiston. Currently
Well Hung: Q&A with Sam Gilliam
Sam Gilliam’s most celebrated accomplishment — the suspended painting — made its debut at the Corcoran Gallery of Art in September 1969. While other artists like Richard Tuttle and William T. Wiley were also experimenting with the unstreched canvas during the same period, Gilliam’s sculptural approach was revolutionary in that
Well Hung: Q&A with Sam Gilliam
Sam Gilliam’s most celebrated accomplishment — the suspended painting — made its debut at the Corcoran Gallery of Art in September 1969. While other artists like Richard Tuttle and William T. Wiley were also experimenting with the unstreched canvas during the same period, Gilliam’s sculptural approach was revolutionary in that
