Dear John, Your show, Immediate Horizon, at Weekend is quite wonderful. The cyanotype photograms are like flags, and like paintings, and like curtains – curtains over doorways, perhaps. Remember the movement in 1970s painting that was called Support/Surfaces? Do … Continue reading
From American Art, Spring 1996 (included among gallery bibliography for Mark Ruwedel): “In the process of decay, and in it alone, the events of history shrivel up and become absorbed in history.” Walter Benjamin1 And then further in the same … Continue reading
It comes from a dark place, this sculpture; not as though its making was sad or depressing, but as though light doesn’t get to where it was created – the place is too deep. This dark object is inscrutable, not … Continue reading
I saw Justin John Greene’s paintings in an open studio event at the Central and 15th Street studios on April 21st. I was struck by their naturalness, by what seemed to me a skilfull but not a fussy way of rendering figures. … Continue reading
John Mills’ paintings employ a minimum of tools to great effect. Looking at them is like listening to the quiet man at a party – at first through the crush of boldly-dressed characters and the hollow din of voices and … Continue reading
Geoff Tuck: When I visited Brad Eberhard’s exhibition, (dis/solve), at Tom Solomon Gallery, I was confused by his paintings. Eberhard is a careful, even meticulous artist, he builds up thin layers of paint and he works these by scraping, rubbing and … Continue reading
A seated woman embroiders in brilliant red on fabric that is held in a white crewel hoop; stitching, she listens to another woman whisper. This second woman is dressed in white, like the hoop, or frame. Her dress is a … Continue reading
Dear York, Congratulations on your show at Rob’s (Greene Exhibitions). I visited Tuesday with Olga and with a mutual friend, David Bell. I recognize some elements of the show, in fact I believe we talked about this incident of capture … Continue reading
In the large front room of Blum and Poe, Henry Taylor has laid furrowed rows of sod, plain dry dirt, and a grand dining table and chandelier. Surrounding this mise en scene are large-scale portraits, which I learn from the press … Continue reading
In The Skeleton Bird Is No Fisherman slender loops of paint make reference to costume; later, in 20 Pound Iron (a work on paper) these marks are repeated (in pencil), and here the hand of the artist is very present: … Continue reading
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