Tag: hardedgeabstraction

Warren Isensee

Isensee is an NC-born painter. Riad at Whitehot notes his newest at Miles McEniry.

I first blogged about their work early on (2018!), and att I made a note about how Neo-Geo almost ruined abstract painting (Warren has been making work since the 80’s- here is something from 2001) and that to my eye their practice is committed to formalism (writing that his work is too insistent on being seen to be a sign for some conceptual “agenda”).

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Georg Karl Pfahler

Karl at Whitehot has words about Georg’s chromatic logic (in the context of a recent, posthumous exhibit of the German artist’s work at Nino Mier Gallery.) Rising through the hard-edge movement after World War II, his work pivoted between Bauhaus experimentalism and New York’s emergent formalist abstraction.

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Marion Griese

work is orchestrated with a collection of colours, shapes, and lines that have caught her eyes as she moves through daily life. These elements have slowly become the vocabulary she uses to tell her stories and give shape to her personal impressions of the world around her. Her hope is that her art becomes a space for the viewer to transcend the moment and to experience a sense of relief and inspiration, as a favourite piece of music might.

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Gwenaël Kerlidou

has actually been mentioned here before, when he wrote for TUSSLE Christopher. They’re also a good writer: (from his statement) “Abstraction, now more than ever, has become an exercise in painting in tongues, pulling both painter and viewer toward a practice of highly idiosyncratic systems of signs, and paradoxically seems to be at the moment one of the best tuned visual instrument to explore our diverse commonalities.” He is one of the ten artists Saul Ostrow included in Building Models.

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Ted Stamm

is one of the 10 artists included in Building Models: The Shape of Painting at the Painting Center which is recently referenced in another blog. Stamm’s work are fully abstract, and it is unnecessary for the viewer to know the origins of what he or she is looking at in order to experience them the way the artist intended. Black is a consistent component of Stamm’s work, a color that he associated with rebellion, rigor and reduction.

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Paul Feeley

Sharon at Two Coats notes a major shift in Paul’s work evident in a (posthumous) exhibit at Garth Greenan. She notes that today when artists work freely across all mediums and platforms, “the measured boundary-crossing that Feeley undertook in the 1960s may seem quaint. Still, there is something durably refreshing about his conviction, then iconoclastic, that undulating lines and shapes could convey a robust sense of humanity, and that even hard-edge geometric shapes could convey emotional content.”

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