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Richard Aldrich | |
|---|---|
| Born | 1975 (age 48–49) |
| Nationality | American |
| Known for | Painting |
Richard Aldrich is a Brooklyn-based painter who exhibited in the 2010 Whitney Biennial. [1]
Aldrich received his BFA degree from the Ohio State University in 1998.[ citation needed ]
Although mostly abstract and casual, Aldrich's paintings also betray a distinctly literary sensibility, even as he targets what he has called the essential "unwordliness of experience." Snippets of text and random words-UFO, the numeral 4-appear as decals or pencil scrawls, while lines incised with the back of a brush suggest writing once removed. Taciturn pictures carry evocative and ungainly verbal appendages in the form of elliptical press releases or titles like Large Obsessed with Hector Guimard, 2008, a nod to the architect of Paris's Art Nouveau metro stations, or If I Paint Crowned I've Had It, Got Me, 2008, a telling paraphrase of Cézanne explaining he would be ruined if he tried to paint the "crowned" effect of a still life rather than the thing itself. [2]
Inka Essenhigh is an American painter based in New York City. Throughout her career, Essenhigh has had solo exhibitions at galleries such as Deitch Projects, Mary Boone Gallery, 303 Gallery, Stefan Stux Gallery, and Jacob Lewis Gallery in New York, Kotaro Nukaga, Tomio Koyama Gallery in Tokyo, and Il Capricorno in Venice.
Amy Sillman is a New York-based visual artist, known for process-based paintings that move between abstraction and figuration, and engage nontraditional media including animation, zines and installation. Her work draws upon art historical tropes, particularly postwar American gestural painting, as both influences and foils; she engages feminist critiques of the discourses of mastery, genius and power in order to introduce qualities such as humor, awkwardness, self-deprecation, affect and doubt into her practice. Profiles in The New York Times, ARTnews, Frieze, and Interview, characterize Sillman as championing "the relevance of painting" and "a reinvigorated mode of abstraction reclaiming the potency of active brushwork and visible gestures." Critic Phyllis Tuchman described Sillman as "an inventive abstractionist" whose "messy, multivalent, lively" art "reframes long-held notions regarding the look and emotional character of abstraction."
Ronnie Landfield is an American abstract painter. During his early career from the mid-1960s through the 1970s his paintings were associated with Lyrical Abstraction, and he was represented by the David Whitney Gallery and the André Emmerich Gallery.
Lyrical abstraction is either of two related but distinct trends in Post-war Modernist painting:
Dan Christensen, was an American abstract painter He is best known for paintings that relate to Lyrical Abstraction, Color field painting, and Abstract expressionism.
Rudolf Stingel is an artist based in New York City.
R. H. Quaytman is an American contemporary artist, best known for paintings on wood panels, using abstract and photographic elements in site-specific "Chapters", now numbering 35. Each chapter is guided by architectural, historical and social characteristics of the original site. Since 2008, her work has been collected by a number of modern art museums. She is also an educator and author based in Connecticut.
Stephen Westfall is an American painter, critic, and professor at Rutgers University and Bard College.
Dike Blair is a New York-based artist, writer and teacher. His art consists of two parallel bodies of work: intimate, photorealistic paintings and installation-like sculptures assembled from common objects—often exhibited together—which examine overlooked and unexceptional phenomena of daily existence in both a romantic and ironic manner. Blair emerged out of the late 1970s New York art scene, and his work relates to concurrent movements such as the Pictures Generation, Minimalism and conceptual art, while remaining distinct from and tangential to them. New York Times critic Roberta Smith places his sculpture in a "blurred category" crossing "Carl Andre with ikebana, formalist abstraction with sleek anonymous hotel rooms, talk-show sets with home furnishings showrooms." Cameron Martin writes in Artforum that the paintings are "rendered with a lucidity that extracts something metaphysical from the mundane."
Ellen Harvey is an American-British conceptual artist known for her painting-based practice and site-specific works in installation, video, engraved mirrors, mosaic and glass. She frequently pairs traditional representational vocabularies and genres with seemingly antithetical postmodern strategies, such as institutional critique, appropriation, mapping and pastiche. Her work examines such themes as art as a mirror, interactions between built environment and landscape, ruins and the Picturesque aesthetic, and cultural and economic relationships between museums, artists and publics. Curator Henriette Huldisch writes of her work, "haunted as it is by the notion of art's ultimate futility, her paradoxical stake is in persistently testing art's possibility to do something in the world after all."
Alvin D. Loving Jr., better known as Al Loving, was an African-American abstract expressionist painter. His work is known for hard-edge abstraction, dyed fabric paintings, and large paper collages, all exploring complicated color relationships.
Stephen Greene was an American artist known for his abstract paintings and in the 1940s his social realist figure paintings.
Thornton Willis is an American abstract painter. He has contributed to the New York School of painting since the late 1960s. Viewed as a member of the Third Generation of American Abstract Expressionists, his work is associated with Abstract Expressionism, Lyrical Abstraction, Process Art, Postminimalism, Bio-morphic Cubism and Color Field painting.
John Zurier is an abstract painter born in Santa Monica, CA, known for his minimal, near-monochrome paintings. His work has shown across the American West as well as in Europe and Japan. He has worked in Reykjavik, Iceland and Berkeley, Ca.
Dona Nelson is an American painter, best known for immersive, gestural, primarily abstract works employing unorthodox materials, processes and formats to disrupt conventional notions of painting and viewership. A 2014 New Yorker review observed, "Nelson gives notice that she will do anything, short of burning down her house to bully painting into freshly spluttering eloquence." Since 2002, long before it became a more common practice, Nelson has produced free-standing, double-sided paintings that create a more complex, conscious viewing experience. According to New York Times critic Roberta Smith, Nelson has dodged the burden of a "superficially consistent style," sustained by "an adventuresome emphasis on materials" and an athletic approach to process that builds on the work of Jackson Pollock. Writers in Art in America and Artforum credit her experimentation with influencing a younger generation of painters exploring unconventional techniques with renewed interest. Discussing one of Nelson's visceral, process-driven works, curator Klaus Kertess wrote, the paint-soaked "muslin is at once the tool, the medium, and the made."
Lisa Alvarado is an American visual artist and harmonium player.
Victor George Kord is an American painter and educator. He currently maintains a studio and exhibits in New York City. He previously served as art department chair for several major universities, and remains professor emeritus of painting at Cornell University Department of Art.
Frances Barth is an American visual artist best known for paintings situated between abstraction, landscape and mapping, and in her later career, video and narrative works. She emerged during a period in which contemporary painters sought a way forward beyond 1960s minimalism and conceptualism, producing work that combined modernist formalism, geometric abstraction, referential elements and metaphor. Critic Karen Wilkin wrote, "Barth’s paintings play a variety of spatial languages against each other, from aerial views that suggest mapping, to suggestions of perspectival space, to relentless flatness … [she] questions the very pictorial conventions she deploys, creating ambiguous imagery and equally ambiguous space that seems to shift as we look."
Andrew Spence is an American artist known for abstract paintings that combine a minimalist vocabulary with playful references to the observed world. In the 1970s and 1980s, he gained recognition as one of a number of younger artists who were re-examining geometric modernism through a contemporary lens that invited humor and reference to everyday objects and life experience into the tradition. Spence's method of distilling visual phenomena into simple, emblematic images has been compared to Ellsworth Kelly, but his work has differed in its more even balance between abstraction and recognition, intuitive approach, and varied, expressive paint surfaces. Art in America critic Ken Johnson wrote that his work maintains "an ironic tension between lofty purism of modernist geometry and earth-bound ordinariness of the vernacular sources." In later paintings, Spence has increasingly obscured the original inspirations of his abstractions, in both form and titling. His work belongs to the permanent collections of the Metropolitan Museum of Art, Museum of Modern Art, and Whitney Museum of American Art, among others. He has received a Guggenheim Fellowship and awards from the American Academy of Arts and Letters and National Endowment for the Arts.
James Little is an American painter and curator. He is known for his works of geometric abstraction which are often imbued with exuberant color. He has been based in New York City.
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