Look, See

8. The last light at the end of the branch

7. The last light at the end of the branch

Financial Times: Is fame the art world's biggest lottery?

Financial Times: Is fame the art world's biggest lottery?
By William Packer
April 27 2004 18:02

(BTW, this article mentions Raoul De Keyser)

There are plenty of painters of real accomplishment working in as modern and abstract a mode as one could wish, who never achieve the support of any public gallery or institution, if they are perhaps a shade too old, their gallery is not quite advanced enough, their work is no longer seen as "cutting edge" or their face don't fit.

6. The last light at the end of the branch

5. The last light at the end of the branch

4. The last light at the end of the branch

3. The last light at the end of the branch

2. The last light at the end of the branch

1. The last light at the end of the branch

Notches & Spaces I-VIII

Source

David Reed on painting and emotion

David Reed in conversation with Katy Siegel, October 2001
(from Making Waves: The Legacy of Lee Lozano)

KS: How can painting be emotional without being expressionist?

DR: It's one of the strengths of painting that you aren't coerced into having emotions; you decide to have them. It's not like film. I get weepy at some of the most embarrassing movies. I can even get patriotic, and I'm ashamed of myself. But some of those patriotic emotions come from having a sense of community with other people. You can have those kinds of feelings looking at a painting, too, but in a way that's not coerced: You can choose to have them.

Raoul De Keyser at Whitechapel, London

Artforum:

Raoul De Keyser
Whitechapel Art Gallery, London
Through May 23

Raoul De Keyser bloomed late in Belgium, beginning an astonishing forty-year career at the age of thirty-five. The curators have put together fifty paintings from the early '70s forward, mixing older works among recent ones. The largely abstract canvases often begin with a simple, domestic image overlaid with gesture, monochrome, or a grid. For De Keyser, who explores painting's expanse rather than cataloguing its finite categories, nothing is inevitable, and many things seem possible?a state of affairs that feels right, right now.

Katy Siegel

Notches & Spaces VIII

Notches & Spaces VII

Notches & Spaces VI

Notches & Spaces V

Notches & Spaces IV

Notches & Spaces III

Notches & Spaces II

Notches & Spaces I

Grace I-XII Compilation

Cy Twombly at Serpentine, London

Although studded with a bit of hyperbole, as pointed out by Tyler Green, Jonathan Jones' Guardian review of Cy Twombly's works on paper at Serpentine, London (this link, not being unique, will eventually refer to whatever current show is there- bad that it's not a unique, persistent link for Twombly) is a longish piece that sets the scene for post-AbEx painting and Twombly's place in it as a third leg of a trio also comprising Rauschenberg and Johns, with Twombly's place, he posits, not fully appreciated within the US.

Twombly at 49th Biennale di Venezia, 2001

Grace XII