Stephen Maine

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.”

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Julije Knifer

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.”

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Lucien Smith

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.

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Agnes Martin

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.

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Shirazeh Houshiary

Since exploring abstraction from artists born in Muslim countries was so enjoyable recently Artsy’s newest on #womenartists from the Middle East would have caught my eye even if Etel wasn’t featured.

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.”

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