Posts Tagged ‘ painting ’

Artist Dana Schutz Takes Back Her Painterly Name

The Visible World, 2018. Photo: Courtesy of the artist and Petzel, New York.

Her canvasses are hyper-assertive, full of operatic grandeur, self-mocking turbulence, disfigured hideousness and the psychopathology of her figures.

Source: Artist Dana Schutz Takes Back Her Painterly Name

Jorge Costa, “Hypha – Spitzenkoerper #1” (2018) – from Open Call NXNE 2019 on view at the Brattleboro Museum & Art Center January 12 – March 2, 2019

Jorge Costa, “Hypha – Spitzenkoerper #1” (2018), acrylic and ink on Yupo paper, 76 inches x 100 inches.

from Open Call NXNE 2019, on view at the Brattleboro Museum & Art Center January 12 – March 2, 2019.

Demotic Abstraction with a Twist

Barbara Takenaga, “The Edge” (2018), acrylic on linen, 54 x 45 inches (all images courtesy DC Moore Gallery)

By concentrating on detail, which is a central feature of Barbara Takenaga’s work, she has gone against the reductive tendencies of Minimalism that still haunt painting.

Source: Demotic Abstraction with a Twist

Marilyn Johnston : Watercolors & Pastels Prosser Public Library

Marilyn-JohnstonMarilyn Johnston

C R E A T I V E   P A T H W A Y



JUNE & JULY 2018

Prosser Public Library • 1 Tunxis Avenue • Bloomfield, CT
Monday – Thursday: 10 am – 8 pm
Friday: 10 am – 6 pm &  Saturday: 10 am – 5 pm

Painting — JORGE COSTA


Source: Painting — JORGE COSTA

Etel Adnan – The Shape of the Mountain Paris Review

for Sabine Miller

Source: Paris Review – The Shape of the Mountain

Cy Twombly’s Extravagant Synesthesia


Cy Twombly, “Untitled (Gaeta)” (1989), acrylic and tempera on paper mounted on wooden panel, 80 × 58 5/8 inches, Private Collection, © Cy Twombly Foundation. Courtesy Gagosian

Source: Cy Twombly’s Extravagant Synesthesia

Joan Baez on Her Next Chapter: ‘I Don’t Make History, I Am History’ – The New York Times







“Jorge Costa’s intricate, miniature cultural icons executed with the draftsman-like quality of a Dürer, stud and embed  the overall painting with their graphite presence, conjuring alarm, delight, surprise, and shock, individually, and as composites within the larger pictures, living in the western world. A depiction of the Lincoln Memorial sports a satellite dish and Mickey Mouse ears; a gas mask or the Pope, might save us from oil fumes, chemical spillages and pollution, but from ourselves? What could enliven us to what western culture’s swill of vacant images, consumerism, and earth’s degradation did and does to each of us, to this artist,  in our daily lives? Costa’s work enlivens. It helps us look at the road ahead, the one we’re on, get back on the tightrope and inch ourselves eventually upright until we can see the bigger picture, the wreckage we cause. Oil is a major player in some of these pieces, that’s clear. But Costa paints and draws fragility into these slow motion spoofs of a world in collapse.”

Donna Fleischer

John Berger on Rembrandt