• Matt Miller's Figures. Image courtesy of BravinLee Projects

      Building Blocks: Leslie Baum, Stacy Fisher, and Matt Miller

      Wednesday, 11 September 2013 14:00

      One of the fundamental games introduced to us as children was a set of building blocks. With unhindered imaginations and seemingly infinite possibilities for rearranging the fragments, we gradually learned depth perception, spatiality, physics, and creative expression. These pieces became representational, familial, and even tools for translating the things that we thought were visually interesting. […]

    • Cover image courtesy of Verso Books.

      Anywhere or Not at All: Verso’s Latest Offering from Peter Osborne

      Wednesday, 11 September 2013 09:00

      In a conceptually challenging and forward-thinking text, Osborne puts forth the idea that the term ‘contemporary’ has been misused as a catch-all tag for current art that is actually quite the misnomer. He instead postulates the idea of a ‘post-conceptual art’, arguing that an accurate art-historical evaluation on the present is not only eventually foolhardy […]

    • Trygve Faste, Protoform Orange Grey, 2013.
Acrylic on canvas
28 x 36 x 4 in.

      Lightspeed: Trygve Faste at Ruth Bachofner Gallery

      Tuesday, 10 September 2013 09:00

      Contemporary design compresses the problems of quantum physics into domestic space.  In Lightspeed, a show opened September 7th at the Ruth Bachofner Gallery in Santa Monica, California, Oregon artist Trygve Faste explores the kinetic architecture of such transformations. His work experiments with the way lines organize space dimensionally, how angles catch and refract light, and […]

    • Image courtesy of Yale University Press.

      A Healthy Suspicion: The Josef Albers Interaction of Color App

      Monday, 9 September 2013 09:00

      As a young man really sinking my teeth into what it meant to be painter in undergraduate school, I’ll never forget the day our professor hauled out the legendary Josef Albers book on the Interaction of Color. Hers was a really well-loved copy with loose pages spilling out from the tired binding here and there. […]

    • James Cullinane, The Hatfields and the McCoys, 2013. Acrylic, Mylar, spray paint and map pins on panel. 30 x 28 in. Courtesy of Robert Henry Contemporary.

      Ben Pritchard on James Cullinane: Into a Place Beyond

      Friday, 6 September 2013 09:16

      It is always a joy to see an exhibition that immediately establishes a specific intention. It is even more enjoyable when the artist goes about exploring and developing this intention and pushes a way of working into a place beyond an initial thematic logic, into something or somewhere else. James Cullinane’s show Limbus at Robert […]

    • Randy Wray, Studio view, 2012. Courtesy of the artist.

      Sculptural Kudzu: Randy Wray as Interviewed by Kris Scheifele

      Friday, 6 September 2013 09:00

      Kris Scheifele: To call you a multimedia artist is an understatement. Online photos don’t do justice to how intentionally dense your work is, not only in the breadth and depth of your materials and techniques, but also in the way your practice is a kind of cannibalized familial gene pool. For instance, your paintings have […]

    • Justin Mortimer, Perimeter 2012. Oil on canvas 198 x 198 x 3.5 cm.

      Paul Black talks Voyeurism and Mortality with Justin Mortimer

      Thursday, 5 September 2013 09:00

      Justin Mortimer’s paintings reverberate with a fore-knowledge of Baconian flesh and torpor, and that quintessential Freudian cogency and mass that forever changed the idealistic template of the figure in painting into an expression of a post-God mortality. For both twentieth century artists, a delicious glut of adjectives are to be found, as there are when […]

    • Studio shot courtesy of the artist.

      From Kitsch to the Coffin: Irena Jurek talks to Brent Birnbaum

      Wednesday, 4 September 2013 15:23

      Irena Jurek: You are an ardent collector of pop cultural ephemera. The lines between your art and collecting often blur. Did your interest in art as well as collecting develop simultaneously or did one precede the other? Brent Birnbaum: Certainly. I was collecting and saving things before I was making art. I just knew I […]

    • Adam Fowler, Untitled (41 Sheets), 2011, Graphite on paper, hand cut
36 x 120 inches (91 x 305 cm

      Adam Fowler: Escaping Forward

      Thursday, 29 August 2013 18:43

      Once a mark exists on a page, for the most part that’s it. Erasing can make the pigment seem to disappear, but the impression the drawing implement has left on the surface remains. It usually cannot be moved around. Usually. Adam Fowler’s exhibition of new work titled Escaping Forward at Margaret Thatcher Projects offers one […]

    • Page spread courtesy of the reviewer.

      Hal Foster’s Art-Architecture Complex

      Wednesday, 28 August 2013 09:00

      The relationship of art’s influence on architecture and vice versa is a phenomenon that grows steadily stronger as the fields continue to grow closer and closer together. The ambitions of leading figures in either field are constantly pushing them to find new ways to express their increasingly complex ideas, which often means bleeding over the […]

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