Larry Poons: "First Thought, Best Thought"—The Particle Paintings (1996-2002)

By David Rhodes

DEC 19-JAN 20 | ArtSeen

They are somewhat akin to drawings by children: unfussy, direct, energized, inventive. The paintings are strikingly bold. Configurations of disjunctive color and pattern don’t so much settle as insist on taking the viewer for yet another go around. Somehow this is never finished; the viewer is caught in a process, not of resolution but of constant change.

Printmaking and Studio Work

DEC 19-JAN 20 | Critics Page

I have difficulty imagining what my work today might be, or look like, if I had never made prints. I take for granted so much of the experience made possible by the printing process that subsequently circled back into my studio, that I find it impossible to sort it all out and remember, let alone understand, what comes from where.

Marina Adams: Notes on Printmaking

DEC 19-JAN 20 | Critics Page

Printmaking is close to drawing, but it’s a slower process, so you get to think differently. And, you could also say, it allows you to work completely in a spirit of discovery, as you never know how it will turn out. At the same time, the process forces you to stay and look and experiment and see. In this respect, prints can front-run changes in the paintings—or, they can be something totally unto themselves.

Every Situation Calls for Its Own Language: Gilberto Perez′s The Eloquent Screen

By Nicholas Forster

OCT 2019 | Film

The process of identification is at the heart of Gilberto Perez’s posthumously published book The Eloquent Screen: A Rhetoric of Film. Perez writes that audiences identify with more than characters, “we identify with an action, a situation, an emotion, a motive, an interest, a point of view, something the character represents.”