Amy Talluto Describes a Munch Print – Towards the Forest II

Meditation on a Munch Print

A painting of a person hugging a forest

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Towards the Forest II 1915 Color Woodcut, 20 x 25.5 in (65 x 50 cm), (Exhibited at Edvard Munch: Trembling Earth at the Clark Art Institute)

“An eyewitness described Edvard Munch supervising the print of a colour lithograph in 1896. He stood in front of the stones on which the head of a masterpiece was drawn. He then closed his eyes tightly, stabbed the air with his finger, and gave his instructions. ‘Print… grey, green, blue, brown.’ Then he opened his eyes and remarked, ‘Now it’s time for a glass of schnapps.’ The whole performance, including the air of melodrama and that shot of spirits, was highly characteristic.”

-Martin Gayford, The Spectator

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David Dempewolf: Between Optics and Daydreams

David Dempewolf, imago 02 (bird’s eye self portrait), 2013 aqueous media and wax pencil on paper, 10” X 14”, courtesy of artist

Most artists’ studios give us a glimpse into their thought and work process but wandering through David Dempewolf’s studio gives more than a glimpse. It is an experience of entering a wonderous world— a hidden niche reveals a station for experimental animation, a corner serves as a station for wood printmaking, a quaint staircase to a small attic leads to imaginative series of drawings, and a “peephole” in a wall further guides our gaze below, to Marginal Utility, the non-for-profit gallery space he runs with his partner and spouse Yuka Yokoyam. It feels like entering a Borgeisan world where the artist’s thoughts and the endless possibilities of “cataloging” entangle and materialize into a new entity in a tangible space.

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Eric Wolf: When There is a Solid Fog on the Lake

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Eric Wolf, Mooselookmeguntic Lake, 2016, ink on paper 22” x 30”. Courtesy of Pamela Salisbury Gallery

Eric Wolf’s landscape paintings are made with ink on paper and reference nature—water, sky, trees. In their sharp light and dark shapes they resemble woodcut, linoleum prints or even highly contrasted black and white photographs, but the more you look at them, the immediacy of the painted ink comes through—from the artist’s direct observation of nature, through his mind, to his hand—in a magical transformation ink flowing on paper fibers becomes river and white floating shapes become clouds.

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Laura Karetzky: The Action of Looking

Laura Karetzky, Embedded Brexit, 2019, oil on wood, 14” x 11”, photo: James Wade

Selfies in domestic interiors, mobile phones, and computer screens are ubiquitous throughout Laura Karetzky‘s paintings. Her fragmented figures inhabit familiar interior spaces such as a bedroom or a work space, resonating altogether the uncanny in our daily experiences in this digital age, where the boundaries between space, time, self and other become increasingly blurred and at times even disorienting. In
this interview with Art Spiel Laura Karetzky reflects on her figurative painting roots, her process, and her upcoming projects.

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Simonette Quamina – The Big Fight

Simonette Quamina, Swing: An ode to romanticism. 50 x 70 in. , 2017. Graphite, relief print on paper, courtesy of the artist

Simonette Quamina coalesces printmaking, drawing, and collage seamlessly. She is using only paper, graphite and ink to create richly textured surfaces in subtle yet bold monochromes. Her images vacillate between stillness and movement, personal and epic narratives, memory and tangible presence. I first saw her work at the Elizabeth Foundation open studios and invited her to share her ideas and methods. Besides this interview for Art Spiel, her work was included in an article I recently wrote for Kolaj Magazine (upcoming issue). Continue reading “Simonette Quamina – The Big Fight”