Alex Olson, Proposal 5, 2012
Oil on linen, 61 x 43 in.

Alex Olson in an interview on the Studio Sessions blog for the Walker’s exhibition Painter Painter:

The second quality is its extensive history. It’s impossible to make a mark at this point that doesn’t come with a historical referent, but this is actually a huge benefit. You can pull from art history’s enormous catalogue and build off of a past meaning, re-situating it in the present toward a different end. In doing so, it’s important to understand how a specific mark or idea functioned in the past versus now, and to consider what using it now would mean, but this creates even richer possibilities to choose from.

More interviews from the show are available here.

Anoka Faruqee, 2012P-46, 2012
Acrylic on linen on panel, 22½ × 20½ inches

Anoka Faruqee’s recent paintings of moire patterns are reminiscent of Bridget Riley and other 1960’s op artists, but her process, involving custom-made trowels that rake the paint like “sand in a Zen garden”, reference a physicality where others sought a flay perfection.

From an interview with Liena Vayzman in X-TRA:

Some clues about the process can be found in the finished works, but yes, I realize now that most viewers have no idea how these objects are made. At a certain point, I stopped taping the sides of the painting, in order to reveal the intense ooze of paint dripping from the gestural pulls, in contradiction to the glass smooth surfaces, as a way to let people into the messiness of the process. The peripheries are becoming more and more significant, because I want my paintings to be read, at least partially, as a residue of the performance of painting it.

Giosetta Fioroni, Laguna, 1960
Oil and enamel on canvas, 39 3/8 x 31 1/2 in.

On exhibit now at The Drawing Center, as part of Fioroni’s first solo show in North America.

Alan Uglow, Untitled, 2006
Acrylic on cotton, 22 1/8 x 18 inches

Alex Olson, Proposal 3, 2010
Oil on linen, 61” x 43”

Jungil Hong, Grill with Polka Dots, 2011

Cheyney Thompson, Chromachrome 19 (5BG/5R) macaire, 2009
Oil on Canvas, 88 X 111 in.

From the press release:

The scanned fabric sample is divided into three equal sets of numeric data which correspond to the value axis of the digital image, resulting in a template which consolidates the value information into zones of highlight, mid-tone, and dark. The lights and darks of the image provide the coordinates for the distribution of complementary colour pairs based on Albert Munsell’s colour model. These complementary colour pairs are arbitrarily assigned to the individual paintings as a means of providing a minimum of identity within the ensemble. Each painting in the sequence has a unique format which functions as a recitation of the variety of the types of painting supports which have constituted the grounds for the formation of the many genres and attendant subjects of painting. Their designation as chromachromes is intended to signal their filiation with that special class of painting, the monochrome. In response to the monochrome’s claim to universality, chromachromes will always find themselves to be subsumed in the rationalized framework of a complete color system.

Julia Dzwonkoski & Kye Potter, Boxer, 2005
Oil on canvas, 57” x 46.5”

Charline von Heyl, Hibiu Habibi, 2011
Acrylic and charcoal on linen

I think that taste is underrated as a power. One’s formative tastes are linked to a sincere conception of beauty. They stay charged, symbolically and aesthetically, no matter how much we should (and do) ‘know better’. We think our taste is evolving, often losing a powerful link to who we are and what we can do. The ‘tasteless colours’ in my paintings are the colours I grew up with. I find no others to be so directly satisfying. I later acquired more and different tastes, but I have never really gotten rid of any. They are all part of my vocabulary now, and I enjoy juggling their contradictory agencies.

Dirk van Delen, 1651.

In 1651 the full States General met from January to August to debate the constitutional situation within the Republic. This was necessary following the sudden death of Stadholder Prince William II in November 1650. This extraordinary assembly took place in the Great Hall of the Binnenhof in The Hague, the former court of the counts of Holland, built in the thirteenth century. Its present name, ‘Ridderzaal’ or Knight’s Hall, is nineteenth-century.

For this gathering of more than three hundred delegates the Great Hall was specially arranged. The shops and stalls along the walls were removed. Benches for the delegates were fixed down the sides of the hall. Opposite the hearth, a table was placed for the presiding officials. The table in the foreground, with the inkstand and pens, books and hourglass, may be the actual table. The tablecloth bears the arms and the motto of the Republic: ‘CONCORDIA RES PARVAE CRESCUNT’ (Through Unity the Small Become Strong). A copper plate is attached to the painting with hinges. When the flap is opened, the assembly is obscured from view by a wall of paintings.

Garth Weiser, BK-128560, 2008
Acrylic and gouache on canvas, 93 x 83”

Gerhard Richter, Silicate (885-1), 2003
Oil on canvas, 290 cm X 290 cm

I have also thought at times that perhaps this is really a quite terrifying thematic, like getting closer to the end, in the direction of death and dissolution, down to the very elements, where all that is left are these dead atomic structures.

– Gerhard Richter in an interview with Benjamin Buchloh

Markus Lüpertz at GALERIARTIST.

Jack Goldstein, Untitled, 1984
Acrylic on paper, 31” x 47”

Richard Wright, Untitled, 2003
Gouache, watercolor, and pencil on paper, 12 1/4 x 16”

Jack Whitten, Epsilon Group I, 1976
Acrylic on Canvas, 42 x 42 in.

Jack Whitten, Beta Group, 1976
Acrylic on Canvas, 40 x 67.5 in.

Wade Guyton, Untitled, 2006
Epson UltraChrome inkjet on linen, 84 x 96 in.

Andy Denzler, Returning Native, 2010
Oil on canvas, 140 x 120 cm

I’m really taken with these black and white oil paintings from Andy Denzler. They seem to capture haziness of memory as scars from an old VHS tape.