Monday, May 25, 2009
Friday, May 22, 2009
One of the artists whose work I really enjoyed seeing during a quick round of art in Chelsea.Untitled, 2007, Latex, ink, pumice on canvas, 90” x 66”
More of his work can be seen on Artnet.
(photo via Douglas Witmer.com)
I also got over to the Painting Center to see Douglas Witmer's show, Field + Stream. The space was small, but the work looked good in it. For me, the color bars floating in a sea of grey washes lent the work something of a sense of place, or a glimpse of memories of some place or time. The tension of color edge to painting edge along with the bold colors sitting in seas of beautiful greys gave these pieces a kind of energy that you might not notice unless you spent some time looking. Also, Witmer allowed the gesso to roam free of brushwork and just flow down the surfaces in some of the pieces. Some of the resulting uncolored edges seemed to disappear and gave some of the works an added illusion of floating, depending on the angle at which the works were viewed.
Thursday, May 21, 2009
Sunday, May 17, 2009
Wednesday, May 13, 2009
Tuesday, May 12, 2009
Sunday, May 10, 2009
This overfed, over-monied art world, Saltz explained, was a self-replicating machine: people think that "the art market is so smart that it only buys the best work...[but in reality]...the art market is so dumb that it buys anything other people are buying." This has led to the dominance of very few styles and of four artists in particular: Damien Hirst, Jeff Koons, Takashi Murakami, and Richard Prince, of whom Saltz proceeded to offer up his frank opinions. "Hirst’s art," he said, "looked good with people around it. In an empty gallery, not so much."
-Part of Hrag Vartanian's report on a recent lecture by Jerry Saltz.