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Gordon Moore
It's tricky to mix abstraction and illusionism. The abstract painter's fealty to materials and process is fundamentally different from the mimetic painter's goal of naturalistic depiction. Some years ago, Gordon Moore found a language that merges key elements of each idiom's vocabulary-most significantly, abstraction's nonobjective line and representation's cast shadow-and his latest refinements of that pictorial patois have yielded his most articulate works yet.
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Michael Scott
Intermittently since 1989, the New York painter Michael Scott has made black-and-white line paintings in enamel on large honeycomb aluminum panels. Intensely optical, each consists of one or more fields of slender, straight-edged stripes of equal distribution. The black lines initially read as figure and the white as ground, owing to the white of the surrounding wall. Immersive in scale, the paintings soon begin to flicker and buzz, energizing pictorial space in the manner of 1960s Op art works. They build on and transcend familiar perceptual phenomena, disrupting the viewer's physical equilibrium and visual habits.
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Flannery O'Connor: The Cartoons
Known to her classmates at Georgia State College for Women as "the cartoon girl," Flannery O'Connor provided satirical illustrations GSCW's student newspaper, The Colonnade, and other school publications while earning a social sciences degree and planning a career in journalism. Executed in the high-contrast technique of linoleum cut from the fall of 1942 until her graduation in 1945, her cartoons skewering the denizens of the Milledgeville campus—roughly drawn but formally dynamic, and often accompanied by punchy, dialogue-driven captions—are the subject of a revelatory new book by O'Connor scholar Kelly Gerald.
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Lucian Freud Portraits
Since the vast majority of Lucian Freud's paintings are portraits, Sarah Howgate enjoyed broad purview while selecting work for the Freud survey now at the National Portrait Gallery, London, and scheduled to travel in July to the Modern Art Museum of Fort Worth. Published to accompany the exhibition of the same name, Lucian Freud Portraits clutters with anecdote the discussion of Freud's idiosyncratic meditations on the human form. Howgate avers that the exhibition is "a life represented in paint rather than a biographical retrospective," but her essay stresses the artist's personal relationships with his sitters, distracting attention from his pictures' universality by imposing a diaristic reading on his life's work. Such a strategy doubtless makes more accessible the canvases some might find difficult, but it misrepresents the self-evident intention of the pictures, particularly those painted after the late 1950s.
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L.A. RAW: Abject Expressionism in Los Angeles 1945-1980, From Rico Lebrun to Paul McCarthy
The conventional story of postwar American art relies heavily on the chapter in which Abstract Expressionism establishes itself as the dominant idiom, and New York, its home, as the hegemonic art capital. Figurative modes were, if out of fashion, alive and well, of course; MoMA's 1959 exhibition "New Images of Man" surveyed recent American art dealing with the human form. Among the participants was a stalwart of the Los Angeles scene, painter Rico Lebrun (1900–1964), whose grim, harrowing vision of bodies in distress is among 41 painters, sculptors, photographers, installation artists and performance artists that curator Michael Duncan compiles in L.A. RAW: Abject Expressionism in Los Angeles 1945–1980, From Rico Lebrun to Paul McCarthy.
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Ross Knight
Five works dated this year or last consti- tuted the sixth solo exhibition at Team for the midcareer New York-based sculptor Ross Knight. Consisting of dissimilar components conjoined in curious, arresting configurations, they are primarily imagistic rather than spatial.
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Kienholz: The Signs of the times
A handsomely produced volume would contradict the spirit of Kienholz: The Signs of the Times. From the book's cover, which features an incomprehensible detail of a poorly photographed sculpture and "KIENHOLZ" stamped in gold; to gratuitously pastel-tinted pages printed with bizarre typefaces; to an overabundance of snapshots of husband-and-wife team of Edward Kienholz and Nancy Reddin Kienholz; the monograph's cheesy design is perfectly suited to the aggressively vulgar Kienholzian oeuvre.
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Nick Mauss
It seems that Nick Mauss loves drawing so much he wants to totally fuck with it. The 32-year-old Cooper Union grad, who is included in this year’s Whitney Biennial, has been showing internationally for a decade, starting with a group exhibition at the late Colin de Land’s American Fine Arts when the artist was just 21.
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Draw it with your eyes closed: the art of the art assignment
The contemporary art journal Paper Monument has published a delightful, useful book titled Draw it with your eyes closed: the art of the art assignment. The publication's editors, Dushko Petrovich and Roger White, asked a wide selection of art teachers (many of them established artists) "to tell us about art assignments: remarkable ones they had given, received, or just heard about." The book includes over 100 responses of varying length. Amidst the professional demands of art schools, these examples suggest training for the unexpected and capricious expectations of the real world.
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Richard Pousette-Dart
As a young painter in New York in the 1940s, Richard Pousette-Dart found himself among the first generation of Abstract Expressionists, though arguably he was not of them. Variously influenced by Henri Gaudier-Brzeska, Paul Manship and John Graham, his work rapidly developed a totemic figural sense in a modernist idiom. But Pousette-Dart was nimble at the easel. Many of the dozen or so paintings in this exhibition, “East River Studio,” created between 1946 and 1951 in a live-work space on East 56th Street, were sketchy and skeletal compared to the encrusted, fulsomely pointillist canvases for which the artist is known, and they wear that provisional quality well. Also on view were several sculptures from the same period.
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