Claude Viallat

Jonathan Stephenson at Two Coats notes that Claude’s latest work, in a quietly radiant show at Ceysson & Bénétière on the Upper East Side, which is full of colorful patterns resembling camouflage on fragments of military tarpaulins, suggests that while society might try to hide war in plain sight, it cycles through civic life and demands attention on a generational basis.

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Momentum?

I recently wrote a blog centering around the word devotion, and I think perhaps the exercise might be useful to repeat, so this time I’m choosing momentum. Mostly because I feel good about the cube installations staying on people’s radar. In addition to having work in a show recently at Lump in Raleigh (Strictly Voluntary), I’ll also be installing a piece for the next Durham Art Guild annual (68th edition) juried show (up at Truist Gallery in Durham from 10/15 to 12/3), and a friend also forwarded below to me which I wasn’t even aware existed!

I also like the idea of momentum- above I’m referring to “the impetus and driving force gained by the development of a process or course of events,” but, with a practice that is formalist in design, momentum is given a sort of twist where the driving force is a commitment (devotion!) to development. I.E., the process is the purpose.

So where is my process taking me and to what purpose? Well I’ve finished up a small series of small paintings that I think will show quite well together at some point (first image below). I also took this body of work as impetus to veer slightly. Keeping scale small, I shifted the focus from color and line to shape and edge. I am pleased with the way the shapes are in tension with the eye’s tendency to create a cube out of them, creating a good presence at a distance, and the small scale of the (small) things that happen at their edges require the viewer to view the work from very close as well.

Al Taylor

David Zwirner is pleased to announce an exhibition of works by Al Taylor at the gallery’s Hong Kong location, the first presentation of the visionary American artist in Asia. Spanning the mid-1970s through the late 1980s, the works on view will demonstrate Taylor’s transition from painting on canvas to making the three dimensional constructions for which he became known.

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Leasho Johnson

is one of October artists-in-residence at Fountainhead. Born in Montego Bay, Jamaica, and raised in Sheffield, a small town on the outskirts of Negril. Leasho uses his experience growing up Black, queer, and male to explore concepts around forming an identity within the post-colonial condition of Jamaican Dancehall street culture.

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