Tag: studio practice

Posted on , by Elisabeth Condon

Elisabeth Condon Describes a Painting – Sam Francis, Untitled

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Sam Francis, Untitled, 1968-9, acrylic on canvas, 96 x 156.25 inches

Painter Elisabeth Condon’s reflections on a painting by Sam Francis were initially presented in the third episode of Elisabeth Condon Describes a Painting, a new series artist Amy Talluto has launched in her podcast Pep Talks for Artists. In each episode in this series, Elisabeth Condon shares her way of looking at one painting, here, at Sam Francis’, Untitled, 1968 -1969, acrylic on canvas, 96 x 156.25 inches, hails from the series known as Edge, Sail, or Open Paintings. Untitled is currently on view at the Los Angeles County Museum of Art through July 16 in the exhibition Sam Francis and Japan: Emptiness Overflowing.

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Posted on , by Amy Talluto

Ruby Palmer: Painter with a Kaleidoscope Eye

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Ruby Palmer with dog, “Oscar,” in her studio in Red Hook, NY, Photo credit: Yuko Yamamoto

Ruby Palmer’s new acrylic and Flashe paintings, currently on display in her solo show Shift at Morgan Lehman through June 30, look like colorfully doodled Rorschach tests. Each work is densely populated with swirling kaleidoscopic symbols like flowers, feathers, and geometric shapes, all set over jewel-toned or neutral grounds. At her previous exhibition with the gallery, she showed wall sculptures made up of painted clusters of basswood, and her new paintings seem to take those networks of wood a step further and expand them outward like Hoberman spheres in a big-bang fashion. It was my pleasure to speak with her and find out more about this exciting new direction in her work.

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Posted on , by Etty Yaniv

Norte Maar’s CounterPointe10 – Marcy Rosenblat and Amanda Treiber

Dance
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Giulia Faria and Mónica Lima in Sideslip, Photo taken by Marcy Rosenblat

The impetus for this series of conversations between a visual artist and a choreographer comes directly from my recent collaborative work with a choreographer as part of Norte Maar’s CounterPointe10. In this unique project a choreographer is paired with a visual artist to create together over two months a dance performance that integrates the two disciplines into a cohesive vision. Here is the conversation between artist Marcy Rosenblat and Choreographer Amanda Treiber.

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Posted on , by Amy Talluto

Whisperings from the Wormhole with @talluts

Beware the Leave-It-Like-That

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Moby Dick Illustration by Augustus Burnham Shute, Public domain, via Wikimedia Commons

Gather round, me hearties, and let me tell you a tale: a tale about a much-dreaded comment received by many an artist on Instagram and during a studio visit. This comment can sound like a terrifying roar made by a fearsome beast. And it’s called—the “Leave-It-Like-That.

It’s the kind of comment we might receive on our works-in-progress (a struggling fawn just starting its wobbly walk). And we may have blithely thought to ourselves, “Hey, why don’t I post this WIP on the ‘Gram and give people a window into my process!” But…Beware ye who enter here. This generous sneak peek could attract a Leave-It-Like-That (or even its frightening brethren: the “Stop-Don’t-Touch-It” or the “Looks-Finished-To-Me”).

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Posted on , by Etty Yaniv

A glimpse into the Sam and Adele Golden Foundation Residency Program

Featured Project with Emma Golden

Emma Golden (Executive Director), Mark Golden (Founder and CEO of Golden Artist Colors and President of the Board, The Golden Foundation), Barbara Golden (Founder of Golden Artist Colors and Secretary/Treasurer of the Board, The Golden Foundation)

The Sam and Adele Golden Foundation Residency Program began as a dream of Sam Golden. Sam was a paint maker for most of his life at Bocour Artist Colors in New York City and in retirement, moved to upstate New York with his wife Adele.  Sam was an incredibly restless retiree.  Emma Golden, Sam’s granddaughter says that with the push of Adele, he called up his son, Mark Golden, and asked him to come help him make paint. That is how Golden Artist Colors started in 1980—in an old cow barn in rural New Berlin, New York. This fall I had the wonderful opportunity to be a resident at the Golden Foundation and after this deep experience I wanted to share with Art Spiel readers some insight into this unique residency by interviewing Emma Golden, who currently runs it. When he realized retirement wasn’t for him, he began making paint in a barn, delivering it to his artist-buddies’ studios in New York City.

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Posted on , by Christine Sullivan and Marianne Gagnier

Birds, Maps, Migrations

A Conversation Between Christine Sullivan and Marianne Gagnier

Christine Sullivan, The Place Between, 44 x 32” oil/linen

This conversational exchange between artists Christine Sullivan and Marianne Gagnier was catalyzed by artist and writer Paul D’Agostino. He encouraged them to engage in dialogue with one another upon noting that they had both produced new bodies of work, right around the same time, featuring bird imagery. Taking this as impetus for a fertile discussion, Marianne and Christine decided to interview one another regarding themes of journeys and migration, and they discovered a number of surprising points of connection in their lives.  

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Posted on , by Etty Yaniv

Alice Zinnes: Inner landscapes of Light

Alice Zinnes in her studio, with charcoal drawings behind

Alice Zinne‘s paintings draw from literature and mythology to create dramatic landscapes in which light and dark interplay as main protagonists. Her oil paintings, watercolors, and drawings often depict floods of light intertwined with fragmented darker patches, evoking dense and fluid inner spaces.

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Posted on , by Etty Yaniv

Zachary Keeting: Reconciling Layered Energies

Zachary Keeting coffee and cigarettes 2016 acrylic on canvas (triptych) 48” x 124” photo courtesy the artist

In Zachary Keeting’s restless and complex paintings swirls of vivid purples, yellows, and reds float by or contained within geometric shapes of subdued browns and pinkish off-whites. Together they orchestrate distinct rhythms and create a sense of luminosity. Keeting’s alluring colors often generate dynamic pictorial spaces filled with an imaginative array of fragmented forms which remind me of mirror shards prisms against a shifting light, particles in a quantum physics lab, or visual transcriptions of sounds. Although each of these parts, whether biomorphic or geometric, appears to assume a distinct characteristic, the overall sense we get is—what we see now is on the verge of changing within the next second.

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Posted on , by Etty Yaniv

Paul Behnke – a Champion of Painting


Portrait of Paul Behnke in the studio with Gloria’s Guardian, 2020, acrylic on canvas, 62 x 60 inches, photo courtesy of Robin Stout.

Paul Behnke is a champion of painting – and he does it with evident gusto. His paintings come from idiosyncrasies, life experience, and a process that begins as intuitive, mixed with periods of sharp critical gaze. His paintings have evolved from early contained and minimalistic bold-color geometries, to more recent chaotic forms and layered complexity, at times almost explosive.

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