Vera Iliatova takes the group show as an opportunity to reveal the network existing between artists with Tenants. Hanging works side by side she gives context, not in terms of style, price tag, gender, or age, but in terms of friends. Equipped with several studios and a quaintly mismatched kitchen, the 106 Green gallery has much the same feeling as one may find in George Perec’s Life: A User’s Manual, the inspiration behind Iliatova’s curating.
Tag Archives: Painting
In the final installment of the WHAT STATE ABSTRACTION series, Marc Handelman and Cheryl Donegan discuss the resurgence of abstract painting in the early 2000s.
What better way to look into the theater of painting than with a painter/playwright? Lars Elling fits the bill and reconsiders Artuad giving us theater and its other double, painting. True to painting, he reels the viewer in; true to theater, he creates a scene to unfold and hemorrhage. But like a dry wind, his work starts the crackle caw chorus of memory. Elling’s work makes memory talk. Featuring a virtual gallery walkthrough of his show Fictions at Nicholas Robinson Gallery.
Sometimes the picture slips, another digital delay, unraveling momentarily into slithering horizontal bands across the flat TV screen. Take Robert Greene’s bucolic fields populated with pals, poodles, and picnic fare suddenly cleared to monochromatic fields of texture. A lot has changed for the artist and New York since Greene first took a seat in his Corinthian backed Fornasetti chair with BOMB in 1989.
In this installment, Jessica Dickinson and Philip Taaffe answer the question “What is the current state of abstraction?”
“That’s what makes it so great.”
With confounding kindness, this retort will de-claw even the harshest critic.
Earlier this year I posed a question to 12 admired painters: “What is the current state of abstraction?” The following is a collection of their responses, spanning the absurd, the analytical, and the visionary, all linked by an undercurrent of curiosity for the unknown.
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