Stephen says about below as a series that “conveying paint to canvas by means of a system that uses printing plates instead of brushes would save a lot of time and trouble. This indirect, intentionally imprecise production method yields the great pleasure of surprise while providing a concrete way to think about color, surface, scale, seriality, figure/ground, original/copy, and the psychology of visual perception.”
Since I’ve written about banal formalist modalities a couple of times recently I figured three times is the trick? Croatian artist Julije Knifer responded to the post-revolutionary socialist aestheticism (asceticism?) of the ’50s and ’60s “with black irony, riffing on geometric abstraction in “anti-paintings” characterized by a deliberately meaningless monotony.”
As I was writing a piece about Susan recently, her methodology for producing work based on a data set which she did not control echos somewhat I think in the “systems” of some of the Zombie Formalists, a movement which slightly predates my return to painting and apparently was worth missing entirely Instead of cashing in though, Lucien pivoted.
When I was searching Pinterest for images to blog on Robert the algorithm threw up an image of Paul’s– I’ve followed him on IG for a while as should you! I’m really drawn to the crevices (probably some association on my part with early-generation video games or landscape rendering from ’80s cartoons).
Like Agnes Pelton, Agnes Martin loved the desert and was a sort of mystic- certainly a transcendentalist. I think the definition of sublime in the dictionary should have an image of one of her paintings. Although many historians tried to call her a minimalist, she was definitely about being an expressionist- “￼When I think of art I think of beauty. Beauty is the mystery of life. It is not in the eye it is in the mind. In our minds there is awareness of perfection.”
#Hyperallergic has a great series called #beerwithapainter- this month McArthur is their guest.
Shizuko is new to me, having caught this #Artspace piece in my RSS feed because I am usually quite drawn to Concrete artists’ work.
“Shirazeh Houshiary, who emerged in the early 1980s with British sculptors like Tony Cragg, Richard Deacon, and Anish Kapoor, first became known for her allusive environments and biomorphic sculptural forms. However, in the following decade, Houshiary increasingly created drawings and monochromatic paintings.”
Artforum made note that this poet has been exhibiting the “late flowering of a lifelong exploration of line released from the constrictions of the typewriter.”