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Justine Rivas at The Valley

Installation view: Justine Rivas, How to Carry a Cloud. Photo courtesy of The Valley   Justine Rivas: How to Carry a Cloud Up through August 7, 2021 The Valley 1800 Camino del La Placita, Unit D Taos, NM 87571 From the Press Release: The Valley is pleased to present its first solo exhibition with Los Angeles-based painter Justine Rivas . The exhibition, titled  How to carry a cloud,  includes a series of new paintings that explore hidden sources of water in the desert landscape. Rivas uses clouds and creosote bushes as metaphors for the interconnected sources of life-giving moisture in arid regions. Both reflect water stored in the land and the air, deceptively close and yet inaccessible. Cloud forms appear across several works, oscillating between pattern and landscape. As above, so below- creosote in its various forms appear as a familiar and familial plant speaking to the artists’ connection to the desert landscape, her family has lived in the borderlands since t...
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Santa Fe: High Desert High! at Smoke the Moon

  Jon Cowan, I Saw the End, 2021, oil and acrylic on canvas, 12 x 10 in. For my first post in quite a while, I wanted to present a photo essay of a recent show in Santa Fe.  High Desert High! at Smoke the Moon features work by 22 artists from LA to London and many places in between  and is billed as "A summer salon of important paintings celebrating the Dez." In much of the work presented here, there is a strange sense of spare tranquility punctuated by an underlying sense of expectation ( Aryo Toh Djojo , and  Will Bruno to name two) . While Rat Face , a painter from the U.K. uses an economical palette to depict deftly rendered scenes of futile desperation and dark humor.  There is a conceptual complexity in her piece, Head in the Sand as well as in the always sublime work of Jon Cowan .  Both present us with a glimmer of a somber uncertainty (or certainty) that sets their painting apart from much of the vibrant, humorously cool and laid-back work in th...

Let the Painting Build Itself: An Interview with Brooklyn Based Painter David Pollack

  David Pollack with paintings from his Harbor series, in his studio in Red Hook, Brooklyn. Photo: Denise Sfraga Let the Painting Build Itself: An Interview with David Pollack by Paul Behnke Paul Behnke:  Well, let's start at the beginning. Would you talk a little about your background? What set you on the path your work is on? You have gone through several overlapping stages since I've been acquainted with your work. David Pollack:  Growing up my dad was a landscape architect but I think he wanted to be a painter too. He was an amazing draftsman and could draw anything. So, that's where my tree imagery comes from. He used to draw trees all the time and they used to hang in my house. And he actually received a Rome Prize where you go to Rome for a year and they give you a studio set up. PB: That's the prize Philip Guston was awarded. Right? DP: That's what I was about to say. Guston was there when my dad was there. So I was around it as a kid and I tried to draw li...

New in the Studio

Loverman (the Guardian), 2020, acrylic on canvas, 18 x 18 in. New in the studio: Small works concentrating on formal elements, dissolution of form, and broken color. Monument to Clairvoyance, 2020, acrylic on panel, 16 x 12 in. Study for an Imaginary Monument, 2020, acrylic on panel, 16 x 12 in. Dark Monument, 2020, acrylic on panel, 16 x 12 in. Monument to People Who Did Right, 2020, acrylic on panel, 16 x 12 in. * All works  © Paul Behnke 

Amy Sillman: Twice Removed At Gladstone Gallery

  Amy Sillman: Twice Removed Through November 14, 2020 web Gladstone Gallery 515 W 24th Street New Tork, NY From the Press Release: Dear Reader,        The time we’re living in is crazy, horrible, almost medieval with disease, increasing police brutality and militarization, diminishment of democratic rights, and the upcoming ledge of a terrifying election. I was supposed to have a show of drawings and paintings last May at Gladstone and titled it “Twice Removed”: " twice " to propose the idea of a multiplied subjectivity, being of two minds, forked paths, and having allegiances to both subject and object, thinking and feeling, abstraction and figuration, form and content, dialectics and contradictions; " removed " because my paintings are built through negation, a kind of violent erasure, scraping down, undoing, getting rid of. But  twice removed  was also a pun on the family relation, being adjacent to something older. I’m a knight’s move away from th...

Patrick Graham: Interitus at Hillsboro Fine Art

Self Portrait, 2020, oil on canvas, 160 x 160 cm. Patrick Graham: Interitus On view through Nov 7, 2020 Hillsboro Fine Art 49 Parnell Square West Dublin, Ireland ( web )    Facebook     Instagram Installation view, Hillsboro Fine Art, Dublin. Installation view, Hillsboro Fine Art, Dublin. Patrick Graham: Thirty Years - The Silence Becomes the Painting A Film by Eric Minh Swenson

Jullian Schnabel at PACE

  Installation view,  Julian Schnabel: The Sad Lament of the Brave, Let the Wind Speak and Other Paintings,  Sep 18 – Oct 24, 2020, Pace Gallery, New York © Julian Schnabel Julian Schnabel: The Sad Lament of the Brave, Let the Wind Speak and Other Paintings Through October 24, 2020 PACE  510 W 25th Street New York, NY ( web )