In Dialogue
For decades, Dona Nelson has dissolved the formal boundaries of painting: refusing to apply pigment to just one side of the canvas, mounting the stretchers of her double-sided paintings on freestanding metal stands, and letting them occupy gallery floors like sculptural interlopers. In her current two-person show with Andrew Ross at Thomas Erben Gallery, however, the painter has ceded the floor space entirely, anchoring her three new works squarely to the wall.
Continue reading “The Bone and Muscle: A Conversation with Dona Nelson”