Wednesday, November 25, 2015


Chris Hood at Lyles & King, September

From gallery press release: "And then there's the fact that the whole thing is totally, literally backwards: Hood paints from the verso of the raw canvas, staining the pigment through to the front, so that the actual, real painted image isn’t even visible except as a shadow. Or really, what one would normally take as the actual, real image isn’t, since it’s superseded by the contingent stain. This distinction between intentional image and palimpsest gets folded over into a Möbius strip." 

Jane Fine at Pierogi. Contents Under Pressurre. Detail.

In 2013, Jane Fine attended the Golden Paint residency, where she learned (or so it looks - don't really know) how to spray or airbrush glittery painted grounds before her signature mark making process.

In the tradition of Guston~

Detail, Dung of the Devil, 2015

Jane Fine, Dung of the Devil

Bobbie Oliver at Fred Valentine. Oliver's seemingly effortless acrylic paintings use water as their primary binder, but the substrates have a lovely texture that augments her pours.

Cy Twombly at MoMA

Lots of bare canvas and some impasto

Claes Oldenburg at MoMA - stuffed kapok lettering

Color falls like snow on a surface. Ron Nagle at Matthew Marks.

Here, an almost plaster-like texture on the grids by Rachel Khedoori at Hauser & Wirth uptown.

Her photos upstairs. Surfaces implied.

Rachel Khedoori.

Jackie Saccoccio at Van Doren Waxter.

An effect a bit like Nagle, paint like dust, a la Jules Olitski's painting in air.


Mary Jones at 722 Projekt in the Lauren Comito-curated exhibition, Future Past Perfect.
(Detail below next image. I tried).
Xray and silver leaf in compositional not to mention surface alchemy.
Michael Ambron - more painting in air but earth bound.
A brew of influences recast as landscape: Milton Resnick, Jules Olitski. I see Daniel Hesidence's work in relation to these.
Mary Jones: detail. Paint, ink, silver leaf. These surfaces interest me in their collision of flatness and pictoriality.
A smaller Ambron 

Morandi at Zwirner. The king of surface: dancing brushstrokes on juicy neutral grounds.

And for contrast, a finely worked intaglio etching.

Sunday, November 15, 2015

Over and Under: Sunday on the LES

Peeled paint draped over a tarry black substrate and mounted on canvas

With less color, the black felt most urgent.

Color patches filling gaps.

Daniel Hesidence at Canada

Vastly different than the brushier work shown at Feature years ago.

Lightly poured grounds with stumped brush marks, squeezed paint and other systems of putting on paint.

Landscape beyond recognition, yet familiar. 

(Today I attended a wonderful panel at Dorsky on the Uncanny in Figuration moderated by Lilly Wei with Jenny Dubnau, Dennis Kardon, Sarah Peters and Alexi Worth, artists in the Uncanny exhibition there. The discussion was brisk and dynamic, but focused on the figure.
Hesidence's work would be my vote for an uncanny abstraction.

EJ Hauser at Regina Rex.

Objects in her studio assembled into ab Amphibian, title of the show.

Brute, gorgeous mark making, color and drawing circulating above and beneath the surface.

Smiler painting from an earlier drawing.
The show has a catalogue, which launched today. The reproductions are good and there is an interview with EJ Hauser and Yevgenia Baras. 

Sunday, August 17, 2014

Jin Ze Art Center, Qinpu District

Welcome to Jin Ze Art Center, in a river town an hour or so from Shanghai. Christina Shmigel, a wonderful artist, whom I first met in 2005 during her Duolun Museum residency ( and ( invited two friends to take the trek. We met in front of the Shanghai Museum, where the driver from Jin Ze awaited. Despite minimal exposure to textiles previously, I came away transformed, illuminated by the Center's top-notch facilities and its brilliant Director of Textiles Division, Edith Cheung.

At Jin Ze, buildings are restored with exquisite attention to detail.

Our ride for the river, right.

On the water...

The town was built in the Yuan Dynasty period, 1,300 years ago.

Three hole bridge - the oldest one on the river

Texture on a medieval path

And texture in a local shop

Everyone participates in village life

Back at the Center, a Japanese loom. The weaving building boasts a beautiful collection of looms, including several of these, a four-pedal loom, many others, and a spinner!

An example from the workshop, which was concluding the day we were there. Edith Cheung, Director of Textile Division, instructs students simply and succinctly before setting them loose to create in the way they work best.

From Jin Ze's textile collection: leg wraps 

Sleeves lined in batik

Embroidery and patchwork

Neckwear, made from small parts assembled into larger pieces. Cheung said that replacement pieces could often be found in antique shops.

Headwear. Hat on right dips in back so that a banana leaf can be attached for temporary rainwear. Hat on the front left is made from the brown growth underneath palm fronds.

Miniature looms.

Dry pigments. And this is just a small glimpse of the treasures there...

Jin Ze Art Center will participate in the 9th Annual Shibori Symposium, in Hangzhou,  October 31 - November 4, 2014.  To find out more about the event, visit
To find out more about Jin Ze, visit