Erik Lindeman

Artforum notes that Erik’s …”incorporation of anonymous found surfaces as compositional elements in painting has occupied a central place in his work…” and that “… Lindman states, his practice and methods are the most efficient means he has discovered to create a space of reflection and contemplation for viewers to generate their own meanings.

#eriklindman

Ibrahim Mahama

Artforum notes an online solo exhibition at White Cube of recent jute sack paintings by Ibrahim Mahama. “In these works, Mahama continues his interrogation of the principle that by engaging with the failures of the past it is possible to ignite new value systems for the future. By so doing, there is the potential to engender economic change that would lead to labor reforms. Produced in his native Ghana with the help of “collaborators,” the jute sacks from which the paintings are created point to histories of trade and commerce and the personal stories of their handlers…”

#ibrahimmahama

Caroline Achaintre

In Caroline one-person exhibition at Fondazione Giuliani, watercolor, ceramic, bamboo, and wool are the protagonists of a narrative that seems to emerge from the viscera of creative expression. The French-born artist’s works take possession of the gallery space like three-dimensional biomorphic entities, even when simply hung on the walls like paintings.

#carolineachaintre

Jamison Carter

In the months just prior to Covid-19 rearing its monstrous head in the United States, artist Jamison Carter lost both of his parents. Such a tragedy, combined with the horrors and isolation brought on by the pandemic, would crush even the most stalwart of souls. Yet Carter miraculously managed to find the wherewithal to produce “All Season Radials,” his majestic solo exhibition at Klowden Mann.

More

#jamisoncarter

Nonggirrnga Marawili

taps the Earth for her materials and muses. Her works—prints, works on paper, paintings on bark, and larrakitj (memorial poles made from the bark of eucalyptus trees)—are often made with natural ochers that coalesce in spontaneous webs of lines and dots. The resulting works are ethereal, expressive interpretations of water.

#nonggirrngamarawili

Polly Apfelbaum

Polly was one of the hits I remember from Abstract Painting, Once Removed. Her work is literally removed from the constraint of a traditional, rectangular canvas (like Rhia and Meg). Image below is from that time frame.

More (her work has moved back onto the wall as she explores new iconography)

#pollyapfelbaum

Jim Hodges

was also in Abstract Painting, Once Removed, and is similar to Polly in making work off the wall. Of interest to the reader may be new reads of the work through the lens that it is in fact “queer formalism.” Jim is of course not alone among queer artists in using non-mimetic modalities. Gonna explore this topic this week.

#jimhodges

Ingrid Calame

As I continue to think back on artists that were having a (or their first, in Calame’s case) big Art world moment while I was doing grad studies I’m reminded of course (since she, Monique and Polly were often mentioned collectively by the critical community) that Ingrid’s works* were considered lineage and departure from Pollock.

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(*image below is from that time; her work like her colleagues mentioned above has moved in new directions over the last two decades)

#ingridcalame