Tagged painting

Anna King’s Quietly Spooky Beautiful Landscapes

Anna King, “Altitude (I)” (detail), oil and pencil on paper and board, 2013

I have an early shift following a close tonight so my time has run out, but everyone should go check out Anna King’s fabulous landscape and building studies. They’re haunting and beautiful, deftly rendered but also gloriously abstracted. Confident strokes and color, all the way.

Lucinda Parker’s Textured Perspective Shifting

Lucinda Parker, Exposed Basalt – Baroque Fugue, 2018

I’m sad I haven’t noticed Lucinda Parker’s work before. There’s a building near our apartment that has two of her paintings in their lobby, which faces the street. I passed by one night recently and they stopped me in my tracks. Her visions are chunky and hard edged, but they fit together and turn in unexpected ways, like I’m seeing them in a dream.

I can’t find a personal website or Instagram for her, but the Russo Lee Gallery seems to be her outlet, and they have many of her pieces to view.

She’s got a visceral style of painting, making lovely rough fields of color that join together in a vaguely cubist way. Similarly, her perspective shifts in unexpected ways. The image draws my eye, but then bends space, pulling me further in. It’s wonderful to experience in the larger works in person.

The Beautiful Geology of Karin Waskiewicz’s Paintings

© Karin Waskiewicz

I can’t believe I haven’t shared Karin Waskiewicz here before, but a search of the archives seems to show just that. I came across her work when I was finishing my BFA, and it’s engrossing and beautiful. At the time I bookmarked and clipped several of her online images, I was struck by her simple, careful, and novel approach. I’m also a sucker for saturated color, and there’s lots to be found.

At the time, she worked mainly by layering dozens of paint layers on panel, building them up as they dried. She then used tools to carve back into the painting’s stratigraphy, creating biomorphic forms and patterns. She’s got some new work at her site that’s more atmospheric and subtle, but the heart of it is the same. Mesmerizing work that rewards long viewings, is what it is. Her Instagram is here.

Poetry as Art, and Vice Versa

More from the Mark Doty book: he regularly compares painting—and so art, in general—to poetry, in its evocative, metaphorical syntax and usage and the ways it affects us when we experience it.

In still life, it’s the same: these things had a history, a set of personal meanings; they were someone’s. The paintings seem to refer to this life of ownership, and to suggest something of the feeling attached to things, while withholding any narrative. What could we ever know of this cup or platter, the pearl-handled knife? Their associations are long since dead, though something of the personal seems to glow here still, all its particulars distilled into an aura of intimacy.

Mark Doty, Still Life With Oysters and Lemon

Hail Hilma af Klint, Pioneer Abstract Painter

Only now is the depth of her insight and discoveries widely known. She never exhibited her abstract work, pretending to the outside world she was working in a conventional way. This NY Times article covers the Guggenheim retrospective currently on display.

We should understand there’s likely lots of innovative and wondrous work out there, being done without acclaim or attention. Had af Klint not been encouraged to keep her brilliance secret, she might be known as the mother of abstract painting.

Banksy’s Bemusing, Possibly Cynical Shredding at Sotheby’s


There’s a lot of speculation about why Banks did this, and what it means. I’m not sure yet that there’s any one meaning to the work, but I’m intrigued by the larger possibilities behind the concept.

If Banksy wanted to “prank” the fine art world, it backfired, in a way, because the likelihood is that it’s worth more money shredded. This includes the possibility of the thing continuing through the frame shredder at some point. It transitioned from 2D art to conceptual art, and there’s plenty of that which doesn’t have a specific and discrete physical form. All this attention has undoubtedly increased its value for the buyer, and brought massive publicity to both Banksy and Sotheby’s. It’s not really tweaking the wealthy fine art community as much as fostering it.

On the other hand, Banksy may know what he’s doing, that all this would result in increased value, which is more cynical and that’s disheartening. It’s interesting as another in a series of “why is a thing worth this much?” works, but I’m not sure that goes very far. If the thing dissolved completely, that’d be a better way of bringing it full concept: what’s the resale value of a painting that no longer exists, sans documentation?

The main value, I think, is that I’ll have to think about this some more.

The Gorgeous Work of Early 20th Century Painter and Designer Margaret MacDonald

Time for some more talk about the preponderance of white dudes in the canon. I’ll be (mercifully?) brief. Maybe I should have a segment header for this:


Eh, maybe not. But, via the really great—non-toxic—Twitter account @womensart1, I found the work of Margaret MacDonald, a key influence on the Glasgow School and, I think it could be argued, the Arts & Crafts movement as well. Her Wikipedia page sets her as an influence on Klimt, and it seems plausible his work borrowed ideas she painted around the turn of the 20th century and exhibited in Vienna.

I think she’s another who deserves to be studied and lauded along with Klimt.