Helen Frankenthaler, 1928–2011

1956

... The method and the scale of it was, of course, borrowed from Jackson Pollock's procedure, but it was totally devoid of Pollock's angst-ridden search for the sublime. Frankenthaler said later that, fresh from the north Atlantic, she painted from the memories absorbed into not only her mind but her wrists as well. Painting became once again, as in many of its best periods, an instinctive coalition of hand and eye and controlling intelligence.


www.guardian.co.uk/artanddesign/2011/dec/28/helen-frankenthaler
www.nymag.com/daily/entertainment/2011/12/jerry-saltz-on-helen-frankenthaler-1928-2011.html?imw=Y&f=most-emailed-24h5

John Chamberlain, 1927–2011

© John Chamberlain Lo An, 1966 urethane foam and cord 12 x 18 x 18 in.
The Museum of Contemporary Art, Los Angeles

Within a decade of becoming famous as the crushed-car sculptor, he grew weary of both the heavy metaphorical baggage usually hung on his pieces — that they represented the wreckage of Manifest Destiny or of the American dream itself — and the endless automotive questions. “What the hell — do you talk to a painter about what kind of paint he’s using?” he bellowed, sounding both menacing and comical, like Warren Oates doing a Walter Brennan impression. “It’s boring.”


www.nytimes.com/2011/05/09/arts/design/john-chamberlain-the-crushed-car-sculptor.html?pagewanted=all

Joan Mitchell

The Last Decade
11/3 - 1/4/12

... the late work still evinces a distinct confidence of gesture and mark-making, it is further characterized by an increased sense of freedom... a loss of “restraint,” an “abandon,” a “paring down.” Often presented in diptych format, Mitchell’s expansive late canvases remain evocative of the landscape...

http://www.cheimread.com/exhibitions/2011-11-03_joan-mitchell/#

Jeff Perrott

Coil

RW 45 (Crown)

... So the movement of the line is at once controlled and deliberate, and carefree and meandering; its sense is determined but unconcerned. It doesn’t seek the catharsis of action painting, opting instead for a slower, more deliberate, vulnerable movement of the hand. It talks about the possibility of a continuous painting, where each successive shift in color or momentum or direction is the result of an interplay of contingency and intuition, much like the successive moves that accumulate to form a day in the life.

www.jeffperrott.com/

Eve Armstrong

Run Off 2007

Arrangement: Gush 2007

Sarah Cale

Besmear, 2011 acrylic on cotton/linen blend

Agitate, 2011 Acrylic on linen

www.sarahcale.com/

Clare Woods

Black Vomit, 2008

Cold Garden, 2008

http://www.hepworthwakefield.org/what-s-on/event-3/

more Grant Cornett

... there’s something about a one person narrative that comes out of a long look at a place with no other initiative other than just being there then seeing what grows.


http://www.thisisthewhat.com/

Grant Cornett

Grant Cornett, photographer

http://grantcornett.com
http://thelivest1.com/