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The C.A.C.A. Review: An Occasional Publication of the Chicago Art Critic Association

October 1, 2003 - Victor M. Cassidy

Yum, yum, yum! Luscious, glistening, wavy stripes of thick, white, acrylic paint mixed with rich blues, reds, yellows, greens, or browns. Every surface shimmers: the colors seem to change with the light. Some color fields have unlimited depth like the sky. Vague forms float through others. This work is so very tactile that the artist, Vadim Katznelson, was prompted to supply a sample of the paint he uses so visitors could hold it in their hands instead of touching his paintings.

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New York Times: ART REVIEW: Impressions of the Yard, Visual and Olfactory

June 27, 2003 - Roberta Smith

The medium of sculpture started getting fuzzy around the edges in the early 1960's and has never stopped. It has borrowed from all kinds of adjacent mediums -- including video, ceramics, architecture, design and performance art -- and has at times merged with the environment, whether geological or social.

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New York Times: Art Guide

May 2, 2003 - Ken Johnson

This New York-based German artist makes sensuous abstract paintings by a process of his own invention that involves fusing two paintings face to face and then pulling them apart. Exhibited singly or as diptychs, the paintings look like flaking wall sections. They have lush, supersaturated colors and dry, crusty surfaces that look like velvet from a distance.

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Essay by Carter Ratcliff

January 1, 2003 - Carter Ratcliff

Face to face with a painting, we want to know first of all how it came into being. We wonder about technique, which is always fascinating, but what we really want to know is how a painter’s purpose guides technique. 

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Art Reviews: “All-Too-Human Moments in the Kienholzes' Drawings; Figuring It Out”

March 9, 2001 - Leah Ollman

The eye might gravitate to Carlos Estrada-vega's paintings for their vibrant color, but the mind latches on to them as curious puzzles to be figured out, decoded. Their format appears simple enough: All are compositions based on the modular unit of the square. Some squares pair up to form rectangles, some quadruple to form larger squares, set among the smaller.

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New York Times: Art Guide

January 28, 2000

(UN)RESOLVED, Rosenberg and Kaufman, 115 Wooster Street, (212) 431-4838 (through Feb. 12). The ambiguous title is appropriate for this miscellaneous group exhibition. Among the more interesting works are exquisitely made drawings on music composition paper by Andrew Topolski; a soberly sensuous rectilinear composition made of red commercial primer paints on a sheet of steel by Merrill Wagner; and an abstract canvas with a curiously raised, netlike grid of green paint by Vadim Katznelson.

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Artnet: Letter from L.A.

August 9, 1999 - Irit Krygier

Car Culture

Jonathan Stephenson of Rocket Gallery in London organized a show called "Surface Speed" at Cirrus Gallery. Issues of desire in our consumer culture are central to the work of the Portuguese artist Augusto Alves da Silva, whose poignant photographs contrast Ferraris in the showroom to the obviously poor spectators peering in through the windows. Alves da Silva's photos go well with the Minimalist paintings of the Belgian artist Jus Juchtmans, whose fluorescent monochromes evoke high-gloss automotive finish.

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San Francisco Chronicle: Galleries: “Estrada-Vega Expresses Abstract Affinity for Color”

August 14, 1997 - Kenneth Baker

Will abstract painting prove to have been just a 20th century folly?

No one knows yet, and that has made abstraction magnetic again as the century ends.

The work of Southern California painter Carlos Estrada-Vega at Brian Gross Fine Art reminds us that embodying color is one thing abstract painting can do uniquely well.

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Nashville Arts Magazine: Jaq Belcher - Wonders in White

December 31, 1969 - Michelle Jones

It all started with a movie, Gwyneth Paltrow’s Country Strong, to be precise. New York-based artist Jaq Belcher read about the Nashville apartment Paltrow and her family lived in during filming and liked some of the art from Tinney Contemporary featured in the spread. Belcher emailed the gallery and got a call from Susan Tinney a few minutes later. That was more than eighteen months ago; now Belcher is presenting her first Nashville show at the gallery. The nineteen-piece exhibition features large-scale cut-paper drawings, including Untitled: seeding, an installation in which the drawing’s 33,000 cutouts are arranged on the floor in front of it…

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