R.H. Quaytman: Passing Through the Opposite of What It Approaches, Chapter 25, The Renaissance Society, Chicago, IL

R.H. Quaytman: Passing Through the Opposite of What It Approaches, Chapter 25, The Renaissance Society, Chicago, IL

Quaytman’s practice is to create installations of painted panels termed ‘chapters.’ The ongoing chapters, begun in 2001, explore formalist and conceptual variations of ideas about painting, as well as the poetic and grammatical possibilities of photography-based imagery.

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Sydney Ball: Structures 3 & The New York Stain Paintings c. 1971, Sullivan+Strumpf Fine Art, Sydney, Australia

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Sydney Ball, Zianexis, 2009 Acrylic on canvas, 152 x 168 cm March 4-21, 2010 The following extract is taken from ‘Sydney Ball: prophet of abstraction’ by Wendy Walker, Sydney Ball: The Colour Paintings 1963–2007, p21 The emergence at the end of the 1990s of an insistent form in Ball’s paintings – reminiscent of shapes in early drawings of rock formations from his landscape works – gave rise to the asymmetrical, ragged-edged motifs in the abstract […]

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Josiah McElheny: Proposals for a Chromatic Modernism, Andrea Rosen Gallery, New York, NY

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Josiah McElheny Charlotte Perriand (and Carlos Scarpa), Red, 2009 Hand blown glass, wood, metal,  and polished lacquer paint 31 1/4 x 90 x 13 inches September 12 – October 17, 2009 Andrea Rosen Gallery presents Josiah McElheny’s second solo exhibition with Andrea Rosen Gallery, Proposals for a Chromatic Modernism. One of the deep satisfactions of following McElheny’s career as an artist is to continue to witness the expansion of his physical mastery alongside the deepening of […]

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Sydney Ball: In Light of Colour, Sullivan+Strumpf, Sydney, Australia

  September 9-28, 2008 In 2007 Sydney Ball revisited the direct pictorial architecture of his Canto paintings to develop Structures 2, a series of radiant abstract colour works. The modernist architecture of Mies Van Der Rohe and Zaha Hadid – and their open-ended, problem-solving approach to refined ‘architectonic form’ – provided a framework that resonated with Ball’s artistic practice.  As a young man, Ball worked as an architectural draughtsman before moving to New York in […]

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Interview with Richard Bottwin, by Rossana Martinez

The following interview was published on MINUS SPACE in March 2004 in conjunction with Richard Bottwin’s spotlight exhibition.   Rossana Martinez: I would like to start our interview at the beginning of your career. You came of age as an artist during the early 1970s in and around New York City. What kind of work were you making at that time? Were there any specific artists, exhibitions, or events that had a profound impact on […]

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