John Nixon and Jan van der Ploeg in The Kaleidoscopic Turn, National Gallery of Victoria, Melbourne, Australia

The Kaleidoscopic Turn brings together works by artists working with colour, light, sound, movement and space. Drawn from the collection of the National Gallery of Victoria, Melbourne, and featuring a number of recent acquisitions, The Kaleidoscopic Turn resonates with references to various artistic legacies of the 20th century from Op art to colourfield painting, offering a range of multi-sensory experiences including immersive installations, kinetic sculptures, video art, works on paper and painting in its diverse and expanded forms.

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Jan van der Ploeg and Tilman in SOON……., La quincaillerie van der Eycken, Brussels, BE

SOON......, a group exhibition curated by SNAP Projects and presented at La quincaillerie van der Eycken in Brussels, Belgium.

Artists include: Greet Billet, Gaëlle Choisne, Johannes Girardoni, Nadia Guerroui, Clemens Hollerer, Perrine Lacroix, Jan van der Ploeg, Ninakarlin Prinz, Vivien Roubaud, Benjamin Sabatier, Jean-Baptiste Sauvage, Cédric Teisseire, Tilman, and Sebastian Wickeroth.

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Kyle Jenkins in Paintingontopofitself, MOP, Sydney, Australia

Tarn McLean’s research involves the investigation, application and transference of formal elements associated with paintings modernist discourse to locate contemporary painting practice as a non-static undertaking. The canvas retains an interior focus of inquiry while becoming a working space from which conceptual intentions are expanded into architectectonic debates. Through the curated installation McLean combines three generations of seminal artists’ work within the field, including Olivier Mosset, Peter Holm and Kyle Jenkins.

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Linda Francis interviews Thomas Micchelli, On Verge, February, 2015

On the occasion of Thomas Micchelli’s solo exhibition, Bacchantes and Bivalves, the artist sat down with fellow artist, Linda Francis. In this interview, Micchelli discusses his interest in mythology, sensuality and the interplay between painting and drawing. Bacchantes and Bivalves is on view until March 1, 2015 at John Davis Gallery in Hudson, NY.

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Gilbert Hsiao in Outside the Lines by the Contemporary Arts Museum Houston

Published on the occasion of the Contemporary Arts Museum Houston's 65th anniversary, Outside the Lines documents the conceptual framework of the institution's ability to act and think outside the norm. This publication, originally conceived as an ongoing curatorial dialogue, features six exhibitions on abstract painting, focusing on the legacies and contemporary manifestations of the genre.

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Vincent Como & Mark Dagley in Triangles, Ventana244, Brooklyn, NY

The art exhibition “Triangles” features seventeen contemporary artists and their different approaches on the subject of the triangular shape and is curated by Brooklyn based abstract artist and curator Melissa Staiger. The exhibition continues the conversation of this geometric symbol where artists such as Sonia Delaunay, Wassily Kandinsky and Blinky Palermo have left off.

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Vincent Como in Painting Black, Sylvia Wald and Po Kim Art Gallery, New York, NY

This exhibition of paintings featuring the color black -- all of relatively small size to enhance visual coherence -- was curated by the German artist Ivo Ringe and the American artist, Joe Barnes. The exhibition concept was developed by Ivo Ringe, Joe Barnes and Po Kim, the Korean-American artist and co-founder of the Sylvia Wald and Po Kim Art Gallery.

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Carrie Pollack in Aggregate Exposure, George Lawson Gallery, San Francisco, CA

George Lawson Gallery is pleased to present Aggregate Exposure, curated by Jennah Ward, and featuring a group of twelve artists from Los Angeles, Mexico City, New York City, and San Francisco who work with photography using a hybrid approach. The exhibition's emphasis is placed on looking at the processes through which the work is made, rather than what is represented in the photographic image.

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Hartmut Böhm in The Art of Zero, Neuberger Museum of Art, Purchase, NY

In the late 1950s Düsseldorf-based artists Heinz Mack and Otto Piene debuted their vision of a new aesthetic that attempted to re-harmonize the relationship between humankind and nature in the wake of the devastation of World War II. In a deliberate move away from Expressionism, they proposed starting with a clean slate to create a “new art for a new age.”

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Robert Swain in LA Weekly, July, 2014

The abundance of colors surrounding the gallery in Robert Swain’s latest exhibit, “The Form of Color,” is a little overwhelming. Only after walking around the gallery for a few minutes – with eyes searching the walls of mingling colors – will viewers find color collisions that appeal to them. And then it all makes sense. Lines begin to fade away until only meshing shades of color dance across the gallery. Individual squares of one solid color even appear to have their own changing color gradient within them. There are no objects or subject to focus on like in an average painting, just color.

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Julian Dashper in Reinventing the Wheel: the Readymade Century, Monash University Museum of Art, Melbourne, Australia

Arguably the most influential development in art of the twentieth century, the use of the readymade was set in motion 100 years ago with Marcel Duchamp’s Bicycle Wheel. Giving birth to an entire artistic language, Duchamp’s conversion of an unadorned, everyday object into a figure of high art completely inverted how people considered artistic practice.

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