Public workshops on writing about art through memoir.
In Jessi Reaves’s recent exhibition at the Institute of Contemporary Art, Philadelphia, her sculptural furniture was integrated both formally and functionally with a group of surreal still-life paintings by fellow New Yorker Ginny Casey. Curator Charlotte Ickes described these complementary bodies of work as “two solo exhibitions.” The juxtaposition with Casey’s intensely colored paintings of […]
Alchemy, Typology, Entropy at Fleisher/Ollman, Philadelphia, features painting and sculpture by three talented artists who live and work locally: Adam Lovitz, Peter Allen Hoffmann, and Alexis Granwell. The exhibition is one of several fantastic shows curated by Alex Baker this year—including Cryptopictos, Painters Sculpting/Sculptors Painting, and Person, Place or Thing—that collectively highlight the current energy, and formal and conceptual conversations, around painting […]
In an interview published by Philadelphia’s FringeArts (2016), Ann Hamilton describes the dual impulses behind her four-decade-long practice and the multi-site exhibition she had recently mounted in the city: “Watching a raw material become a single thread, join other thread to become a warp or weft of a cloth or carpet holds for me all […]
It’s a common story of contemporary art for artists to describe abandoning the two-dimensional confines of traditional painting on canvas for the more immediate materiality of sculpture, installation, or performance. In her 2016 memoir, for example, academy-trained painter Marina Abramović recalls her decisive moment: “Why should I limit myself to two dimensions when I could […]
While critics frequently compare Dona Nelson to far more celebrated postwar painters, “Painters Sculpting/Sculptors Painting” instead placed her work in conversation with that of a diverse group of younger artists. Nadine Beauharnois, Matt Jacobs, and Marc Zajack, like Nelson, are based in the Philadelphia area and remain anchored to traditional forms of painting and sculpture […]
In his influential Art in America article “Provisional Painting” (2009), critic Raphael Rubinstein traced a history—from Joan Miró to Mary Heilmann—of “works that look casual, dashed-off, tentative, unfinished or self-cancelling,” that “constantly risk inconsequence or collapse.” In Rubinstein’s analysis, this attitude provides an easier yoke for artists tired of laboring under modern painting’s grand and […]