Printed Matter

By Megan N. Liberty

MAR 2020 | ArTonic

Printed Matter has something of a legendary origin story, equal parts oral history, hearsay, and gossip, passed down through the decades in letters, postcards, photographs, and artist accounts. The exact series of events remains a bit murky—nearly all the early participants claim status as an originator.

Sheer Presence: Monumental Paintings by Robert Motherwell

By Robert C. Morgan

MAY 2019 | ArtSeen

In Sheer Presence, an extant selection of eight large-scale paintings (some borrowed from The Dedalus Foundation, established by the artist in 1981) Motherwell’s impassioned quest for beauty is revealed.

Collaboration in Printmaking: An Influence on Creative Thinking

By Bill Goldston

DEC 19-JAN 20 | Editor's Message

I have often wondered how artists feel about working in printmaking. Does it influence their creative thinking in their primary medium? Do they enjoy working with another person to make their images? Are they excited about the act of printmaking or is it just another source of their livelihood? I have asked several to express their opinions and hope you find their responses informative.

Joseph Holtzman: Six Recent Paintings

By Gilles Heno-Coe

DEC 20-JAN 21 | ArtSeen

Holtzman finds an excellent collaborator in Sam Parker, whose refreshingly visionary approach shares the painter’s energy and tongue-in-cheek humor, qualities that are often lacking in the woefully conventional and overly-serious New York art scene. Holtzman’s first solo exhibition on the East Coast, much like his installation at the Hammer Museum in 2014, features an all-encompassing environment of color and pattern, visually situated somewhere between Biedermeier, Arts and Crafts, De Stijl, and 1980s Pattern and Decoration. This campy atmosphere of celebratory excess serves as the perfect backdrop for his recent oil on marble paintings.