Emily is a recent Hopper Prize winner.
More
#emilykraus
Saul at Two Coats puts Li Trincere in context.
#litrincere
BmoreArt notes Ainsley’s exhibition Raktism and Metachaos. Burrows’ practice mainly uses two methodologies: NeoChaos and Raktism. The former is characterized by expressive gestures and lines, and deep, passionate swaths of color. With it, he explores the reverberations of a history that continues to affect him, showing how the past is alive and how we must make its legacy visible.
#ainsleyburrows
Anthony Garcia-Copian is an abstract acrylic painter, born in Cuba, and now based in the Triangle.
#anthonygarciacopian
Adam Simon at Two Coats pays respect to Raphael Rubenstein’s take on Paul and also notes that one tends to take in a Pagk canvas quickly, making it easy to miss the many ways in which his false starts, reiterations, miscues, and reworkings belie his apparent minimalism and austerity.
More
#paulpark
Mary Sargent at Two Coats of Paint posits that Renée’s recent work (from “Behind the Pale,” a solo show at Prince Street Gallery ) has developed an intensely methodical art-making process and produced a luminous body of work that seems to transcend the frustrations and anxieties of contemporary life.
#reneekhatami
Betty Cuningham Gallery recently opened What happened to Abstraction? featuring Jake’s abstract paintings from the 1970’s alongside of his imaginary landscapes completed the last 20 years of his life (he shuffled loose in ’14).
#jakeberthot
Larry Ossei-Mensah predicts to Artsy that abstraction by artists of color will become even more prominent in 2023. The genre, Ossei-Mensah believes, is essential to shifting the public’s belief that artists of color should only make representational work that is immediately legible. He refers to Atta.
#attakwami
Those of you who read this blog are probably either artists yourselves or know many at least, and so you’ve heard one of us, certainly, talk about “having a practice.” If you don’t know what this means I’ll forewarn you that doing a search on the internets for a definition will take you all kinds of places, and I won’t attempt to be the definitive answer to the “what is a practice” question. I have a practice. It was re-born from a question I asked myself during a turbulent time– effectively what am I leaving this world- to which I answered “if abstract painting matters enough to me that I want it to exist in the future, I have to invest in it by making it, talking about it, looking at it, buying it, teaching about it, and challenging it as a medium and a historical movement.”
For me a practice is about a sum of activities, IE, it’s more than the actions and discipline around making work. For example, showing up; in this case, being at openings for your people. And “your people” are the ones who support you in return, whatever that means. There is a David Hickey quote about forming a club and taking over the Art world that I can’t find on the Internet this morning (and whichever of you I loaned my copy of Air Guitar, please return it.
Teaching is another part of my practice. Since I have full-time employment outside of the Art world, I have the privilege to teach for the love of it as the kids say, I think… This semester I’m teaching Foundations of Color through OLLI at Duke. Honestly I would do this full time if I could- I love teaching color.
Part of having a practice, to me at least, is also continually challenging yourself. In addition to reinvigorating my practice through daily drawing recently, I also took the opportunity this last week to learn about a new printmaking technique- using the foil material in TetraPak cartons as a plate. There are a few images of the results below, my brain is spinning with the possibilities. If you have the opportunity and are local to the Triangle I definitely recommend taking one of Susan Martin’s workshops.
is in Considering Female Abstraction at Green Family Foundation long with Marie and Austyn.
#briannabass