Throughout Bob Hooper’s exhibition of abstract paintings at Regards is a recurring motif: a “circle-square,” to borrow the artist’s term for it. It feels oddly familiar, calling to mind a teardrop, a punctuation mark, a speech bubble, an element of a floor plan, or perhaps even some type of wayfinding marker. And yet, subjected to Hooper’s inversions and manipulations, the circle-square elides any sort of referential comprehension, taking on a life of its own and infusing the show with an unstable, electric energy.
For the first exhibition at their new Parisian location, Lévy Gorvy has adorned the large gallery with a series of six monumental and lyrical minimalist paintings by Group Zero’s Günther Uecker—mural-like in their consistent scale and limited blue and white palette—along with an array of small watercolors.
More on the Zero Group
Tony reacts to negative space created by inspiring elements of process he builds around emotionally charged objects, like wine spilled into books (relating to a singular experience of a specific novel) or the negative spaces between his own fingers. About his intentions, Just has said: “Using elements of abstraction, representation, illustration and duplication I try to produce paintings which show the infinite possibilities of interpretation. The magic of seeing images revealed or dissolved. To move the viewer just a little bit closer to seeing something they may have missed.”
Artforum says Winston’s newest are “Light and dark, dry and wet, reflective and absorptive, these qualities give the different multiples of the painting a distinct visual rhythm… What at first seems quite simple turns out to be very complex upon closer inspection. Layers of color unfold an optical effect that lifts color from its surroundings to conceal the materiality of the carrier almost to the point of invisibility.”
Hyperallergic notes about Joan’s newest “ …few artists unlock black’s buzzing potential better than Joan…” (I also think of Pierre when I contemplate the use of the chroma black).
Dorothy (who is no longer with us) made works which “are too rich to be minimal, too spare to be expressionist. They deal with color and expansive space, yet they are too gestured and incidented to be straight colorfield works. They are adventures in form dealing with color as an expressive agent rather than as a mere phenomenon.”