Contributed by Jason Andrew / Jacqueline Gourevitch’s resilience stems from restraint and slow observation. From her first solo exhibition in 1958 to the current striking survey of 21 cloud paintings dating from 1965–2018 at Storage Gallery in Tribeca, the nonagenarian has shown that sustained attention to a single subject can yield infinite and dynamic variations.
Tag: Richard Diebenkorn
Yura Adams: A freewheeling conversation with Daniel Giordano
Daniel Giordano: Yura, I want to play a game of me spitting out a question and you rattling off an answer. A real Martin Kippenberger special of a “first thought, best thought” type response to keep us on our toes… Okay, so here we go: What artists do you steal from most and what bag of tricks did you whip out to aid in the making of your installation at Olympia?
Bernice Bing’s unsung talents
Contributed by David Carrier / Bernice Bing (1936–1998), a gay Chinese American woman, grew up in San Francisco. She had a difficult childhood. Her mother died when she was five and lived in no fewer than 17 predominantly white orphanages. She attended local schools, got her MFA at the San Francisco Art Institute, and actively participated in the local art scene. Her teachers included Richard Diebenkorn as well as celebrated local artists, and Bing exhibited widely in Northern California. Now, thanks to Berry Campbell Gallery, which has provided a magnificent catalogue with a fine essay by John Yau, her work is being brought to New York’s attention.
Maki Na Kamura: “Caspar David Friedrich plus Hokusai minus Romanticism minus Japonisme”
Contributed by David Carrier / Born in Japan, Maki Na Kamura was trained in Germany, where she now lives and works. In that light, it’s not too surprising that she describes her work as “Caspar David Friedrich plus Hokusai minus Romanticism minus Japonisme.” Identifying herself as both a traditional painter and a contemporary artist, she notes that she might, on the same canvas, use both tempera and oil paint– two materials traditionally used separately. Her paintings and charcoal-on-paper drawings are poised between figuration and abstraction. The paintings are often centered on figures, but it’s not usually clear what’s happening in the work on view at Michael Werner. It may be hard to tell just what we are looking at, but it is obvious that her central concern is visual pleasure.
Diebenkorn arrives in New York
“Diebenkorn in New Mexico,” curated by Charles Strong and Charles M. Lovell; organized by the Harwood Museum in Taos, New Mexico. Grey Art Gallery, New […]
Harwood Museum presents Diebenkorn’s work from grad school
Kyle MacMillan reports in the Denver Post: “With a painting from Richard Diebenkorn’s “Ocean Park” series in almost every major art museum in the country, […]