Philip Guston, Rite, 1957, oil on illustration board, 24 x 35 in.
Philip Guston, Untitled, 1958, oil on canvas, 64 x 75 in.
Philip Guston, Painter, 1959, oil on canvas, 65 x 69 in.
Philip Guston, Turn, 1959, oil on panel, 22 x 28 in.
Philip Guston, Turnabout, 1959, oil on paper mounted on panel, 22 x 30 in.
Philip Guston, Untitled, 1959, oil on paper mounted on panel, 18 x 24 in.
Philip Guston, Alchemist, 1960, oil on canvas, 61 x 67 in.
Philip Guston, Path II, 1960, oil on canvas, 62 x 71 in.
Philip Guston, Slope II, 1961, oil on paper mounted on canvas, 40 x 30 in.
Philip Guston, Accord, 1962, oil on canvas, 68 x 78 in.
Philip Guston, Painter III, 1963, oil on canvas, 66 x 79 in.
Philip Guston, The Three, 1964, oil on canvas, 80 x 91 in.
Philip Guston, The Year, 1964, oil on canvas, 78 x 107 in.
Philip Guston, May Sixty-Five, 1965, oil on canvas, 70 x 80 in.
Philip Guston, Installation, 2016, Hauser & Wirth, NYC
Thornton Willis, step over, under and through, 2016, oil on canvas, 70 x 61 inches
Thornton Willis is presenting a diverse and powerful group of recent paintings at Elizabeth Harris Gallery (through May 7, 2016). As with every new body of work, here Willis continues to push his paintings into new territory, constantly refining and expanding his vocabulary, while also releasing himself from his own rules and assumptions. The most distinctive new development is a sort of dissolution of the structures, so that rather than being contained or cropped by the edges of the rectangle, in the newest work, the shapes and configurations float in a continuous field of color. The effect is one of buoyancy, of hovering in a constantly shifting space. There is a translucence created by the intensity of the color field and the open placement of various sized rectangles within it, heightening the ambiguity and mystery of the configuration. The color ranges from high key, almost acidic, to soft pastels, and is utterly intuitive with no apparent system other than the internal poetry of the painting. As always the surfaces are juicy, with an offhanded and direct approach to the paint which belies the precision of the compositions. These are masterful works by an artist who has achieved a radical freedom.
Thornton Willis, step around, 2015, oil on canvas, 77 x 61 inches
Thornton Willis, spin step, 2016, acrylic on canvas, 77 x 61 inches
Thornton Willis, totem #1, 2014, oil on canvas, 77 x 61 inches
Thornton Willis, three painters, 2014, oil on canvas, 77 x 61 inches
Thornton Willis, impingement, 2015, oil on canvas, 77 x 61 inches
Thornton Willis, totem #2, 2014, oil on canvas, 86 x 70 inches
Thornton Willis, carousel, 2014, oil on canvas, 77 x 61 inches
Thornton Willis, three soldiers, 2015, oil on canvas, 70 x 61 inches
(Images from the gallery website)
Paul Corio, Sugar Beach, 2015, 92 3/4 x 66 1/2 inches, acrylic on canvas
This is the last week to see Paul Corio's exhibition of new paintings at McKenzie Fine Art, through March 13, 2016. This vibrant and beautifully installed show explores the capricious nature of color, employing both chance and intuition to create configurations that trigger full tilt chromatic dynamism. There is an element of obsessiveness in the complexity of Corio's compositions, and the depth to which he explores the nuances of color relations. But more prominent is a sense of playfulness, of reveling in the realization of endless possibilities. To this end, Corio masterfully devises systems as frameworks within which Cagean operations can be set in motion. The results are startling and beautiful arrays of seemingly random color relations, activated by their integration into clearly organized rhythmic structures. In this way, these works mirror and amplify natural, cognitive, and technological processes -- making visible some of the fundamental impulses of existence.
Paul Corio, Fuchsia Swing Song, 2015, 60 x 48 inches, acrylic on canvas
Paul Corio, Moscow Rules, 2015, 72 x 42 inches, acrylic on canvas
Paul Corio, Polka Dots and Moonbeams, 2015, 48 x 36 inches, acrylic on canvas
While demands of the studio, and preparing for my upcoming show have not left time for blog posts, there has been a steady stream of great painting visible in New York since the beginning of the new year. So here is an abbreviated rundown of some of the highlights... and more in the coming weeks.
Robert Ryman at Dia
Amy Sillman at Sikkema Jenkins
Amy Sillman - one from a wall of black & white paper pieces
Doug Ohlson at Washburn
Logan Grider in a group show at David Findlay Jr
Matt Phillips at Steven Harvey
Emily Berger at the UBS Building lobby gallery
One of many wonderful works in The Onward of Art: American Abstract Artists 80th Anniversary,
curated by Karen Wilkin
Terry Winters in a group show at Matthew Marks
David Row at Loretta Howard
David Row - Detail
Al Held at Cheim & Read
Al Held - Detail
Bret Baker at Elizabeth Harris
James Biederman, Eating Painting at 156 Project Space
Mark Bradford at Hauser & Wirth
Suzanne Caporael at Ameringer McEnery Yohe
John Ferren at David Findlay Jr
Keltie Ferris at Mitchell Innes & Nash
Louise Fishman at Cheim & Read
Clare Grill at Zieher Smith & Horton
Alison Hall at Steven Harvey
Eric Holzman at Lori Bookstein
Jason Karolak at McKenzie (image from gallery website)
Daniel Levine, Painters/Paintings at 57W57 Arts (image from gallery website)
Stephen Maine at Hionas
Brice Marden at Matthew Marks
Giorgio Morandi at David Zwirner
Helen O'Leary at Leslie Heller (image from gallery website)
Susanne Phillips at Lori Bookstein (image from gallery website)
Kazimira Rachfal at Janet Kurnatowski (image from gallery website)
(about 1/5 of) Frank Stella at the Whitney
Don Voisine at McKenzie (image from gallery website)
John Walker at Alexandre