March 15, 2013, 8:30am

Long Plays: Okay Mountain at Mark Moore Gallery

I’ll start with a joke: How many artists does it take to satirize contemporary culture, democratize the collaborative process, vandalize notions of the banal while able to emphasize the importance of drawing within the practice of making?.....9. I learned that one while talking to Okay Mountain co-founder, artist, curator and overall swell guy Nathan Green.

Listed under: Interview

February 26, 2013, 8:30am

A Conversation: B. Wurtz

An afternoon with B. Wurtz is one filled with ruminations on art and life, the relationships between the everyday and the uneventful and your choice between a cheese or hummus sandwich. Wurtz himself is a welcoming spirit with an ever-present eye for the details that make up the world around us. Looking at his work, Wurtz’s meditative hand and delicate nature are overwhelmingly apparent. I can’t help but believe that only Wurtz could have the diligent restraint to caress plastic bags, tin foil pans and other materials that “service/serve us” into objects that challenge the conventions of art history while acting as mirrors to this space/place that we occupy.

Listed under: Interview, Q&A

February 11, 2013, 8:30am

Tracing Technology: Painting with Kim Cadmus Owens

Kim Cadmus Owens (NAP #78 and #102) creates large oil paintings that are striking in color and subject.  Glancing at a work such as “Smoke and Mirrors” or the “Alamo,” you feel as if you are moving with her paintings at the speed of light.

Listed under: Interview

January 30, 2013, 8:25am

The Darker Side of Brion Nuda Rosch

In his second New York solo exhibition with DCKT Contemporary, Brion Nuda Rosch comes at his subject-matter with some self-reflection and a little more grit.  Offering up a darker vision of himself as an artist, the show has a wonderful honesty that draws its viewers into the intimacy of the studio process.  Guarded with a dark humor, each piece is at once raw and confident, while building up to a larger, important conversation.

I had the chance to talk to Brion about his process, the new show and his darker side. - Alex Ebstein, Baltimore Contributor

Listed under: Interview

January 22, 2013, 8:30am

In The Studio: Pairings with Eric Elliott

Eric Elliott's fourth solo exhibit at James Harris Gallery, called Pairings, shows a body of work getting much muckier. And the muck is getting more colorful. Paint, slowly and painstakingly built up in daubs, nearly curls off the canvas like calcified petals, resembling the flora with which he is obsessed. (His botanical illustrations fill notebooks scattered around his studio; dried bouquets languish in vases.) Elliott’s fascination with rendering the representational abstract is consistently apparent in his work: the subject of his paintings is sometimes legible, sometimes it spastically dissolves. Pairings takes this study of abstraction to a dialogic place.

Listed under: In the Studio, Interview, Q&A

January 17, 2013, 8:30am

We've Got One Question: Daniel Buren

Since 1965 painter Daniel Buren has been covering whatever he can with his colored vertical stripes. Buren has covered everything from canvas, walls, and stairs and even train cars that could be seen while looking out of a window from the Art Institute of Chicago. Yeah, sweet, I know. Buren does this in the effort of forcing us to take notice of our surroundings. He drags painting into your space to interrupt your vision and possibly your day. Buren=stripes=Buren. It’s a palindrome. He’s traded his identity for a symbol; in this case it is an exact 8.7cm wide vertical stripe in the service of painting.

December 06, 2012, 8:30am

Momentary Brightness with Carolyn Swiszcz

Think of American Beauty’s famous plastic bag scene.

Or the morning you wake up feeling rested and recovered after a week of being sick.

Or that moment in your car when you look up to catch a streaky sunset in your rearview mirror.

These are the moments when you rub your eyes and think that you can’t possibly be seeing quite so brightly, clearly or keenly, and that the world can’t possibly be this strikingly beautiful, sharp, and moving.

Listed under: Interview

October 29, 2012, 8:30am

Gallerist at Home: Margaret Heiner

Nestled in DC’s Georgetown neighborhood, Margaret Heiner’s cozy gallery Heiner Contemporary, is quite perfect for a bustling college town, as it offers visitors young, fresh, and contemporary art.

Heiner has a keen eye for contemporary art, which at her home, serves as quite a compliment to her husband’s passion for Renaissance and Baroque art.  Together, their home reflects their combined love and zeal for art, while also showcasing their different tastes and preferences. – Ellen C. Caldwell, Los Angeles Contributor

Listed under: Gallerist at Home, Interview

October 19, 2012, 8:25am

Luscious Darkness: Ellen Ziegler’s Body Double

The darkness of Seattle’s upper latitude slips quietly into place as soon as summer ends, the long afternoon light exchanged for gray afternoons and early sunsets.  A number of the city’s October exhibitions reflected these seasonal transitions with darker tones and a more sinister subtext, including SOIL’s Teeth, Gallery 110’s Urban Martyrs and Roq la Rue’s Pureheart.  While less outwardly macabre than others, Seattle artist Ellen Ziegler brings both physical and psychological darkness into play through her latest series

Listed under: Interview, Q&A

October 01, 2012, 8:25am

Greg Murr’s Political Wild Things

Greg Murr’s (NAP #101) dogs hunt and play in a world of human-made and human-valued accoutrements.  Strands of pearls, ladders, flowers, and ribbons weave playfully through the animals’ fantastical worlds, yet the pull of the paintings always remains the intensity of the animals and their very animal instinct.

Greg Murr | Capital, 2011, acrylic polymer, graphite on canvas, 63 x 67 inches.

Listed under: Interview, Q&A


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