July 12 and 13, 2014. Here is what is coming up on the next edition of Hyperallergic Weekend. John Yau delves into the work of the Chicago painter Ed Paschke (1939-2004), whose paintings are now on exhibit at Mary Boone Gallery: “In contrast to his New York counterparts, Paschke’s cast of characters includes different racial types and ethnicities. They are likely to be trapped inside both marked bodies and a netherworld from which all evidence of daylight is missing. If color is a sign of health, his favorite colors are neon green, bilious yellow, brownish-red and washed-out lavender.” Thomas Micchelli writes about the seascapes of Pat de Groot, “quiet marvels of paint-as-image, delicately rendered convergences of pigment and texture,” and the food-based projects of conceptual artist Elaine Tin Nyo, “whose practice includes baking one sour cherry pie per day in July, the month the fruit ripens on the tree, until her supply of fresh cherries runs out.” What the two artists share “is a humility in the face of immensity, an infusion of the vicissitudes of daily living into art’s rigorous embrace.” Jennifer Samet, Hyperallergic Weekend’s interviewer-at-large, has a beer with painter Graham Nickson, who states, “I think it is a great time for painting. The ability to make a very powerful image will always be around. The urge for image making will always be there, just like that first shaman, who probably was a she, who put the image down. The reason for putting the image down is quite different to how the image is received.” Guest writer Nicole Rudick reviews a solo exhibition by Matthew Palladino, whose colorful, three-dimensional works “are paintings but also sculptural reliefs. They are illusionistic but also real. They are representational but are also shaped from actual objects. What’s more, Palladino thinks of them in photographic terms and says that they are ‘like paintings that render themselves.’” Guest writer Daniel Tiffany discusses the career of the minimalist conceptual artist Monika Wulfers, whose pioneering work included some of the first attempts to use a computer for artistic production: “Working at night with a security clearance, she used the Argonne mainframe computer to lay the groundwork for her subsequent projects, ranging in media from painting and printmaking to sound work, neon, and installation.” And Weekend Words throws a few stones.
Posted on: Fri, 11 Jul 2014 11:08:47 +0000
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