Some Early Blog Curations

A linked index


Social media has provided artists a wonderful way to curate virtually. My method has been to post a call to my 3000-plus Facebook friends asking for images on a theme. I love seeing what comes in, selecting and organizing the images, and then sending a curated post out into the cyber world.  What you see here are links to some early curatorial efforts. 

Fifty Shades of Gray, 2012

The buzz about Fifty Shades of Grey, the cornball erotic romance with a surprisingly ardent audience, started me thinking about 50 shades of gray, the achromatic hue we are passionate about. I put out a call to my Facebook friends for images. Many responded. I added a few images from elsewhere on the Internet, and voilà, the post you see here. These tonalities of smoke and charcoal, fog and shadow, dust and ash invite intimate viewing. The difference, of course, is that the stimulation here is strictly retinal. 

Here: Linda Cordner, Cinquefoil Gray, 20ll, encaustic on panel, 2011

Connecting the Dots, 2012

While Gagosian's gone all steroidal for the spots of a certain British artist, I wanted to see who else was working within the visual idiom of discs and dots. What I found will come as no suprise to anyone who gets out to the galleries regularly. There's a huge range of interesting work that is spot on without being hyped.

Here: Mira Schor, detail from series, Funnyish, 1997, ink on rice paper

Rhomboid Rumba, 2011

As often happens, one’s personal interest becomes larger than oneself. My interest in the diamond shape impelled me to seek out what other artists were doing in a related vein. What I found: shapes united by their geometric aggressiveness, wooze-inducing angles and/or on-point position. Unlike rectilinear shapes with angles perpendicular to a horizontal plane, diamonds and rhomboids are wildly dynamic, punching through their perimeters to capture the space around them or holding it with equipoise, or sometimes both. Elongated shapes play with our perspective. Eccentric angles skew with our perception of plane. Actual dimension further confounds our expectation of planarity. 

Here: Gabriele Evertz, R-Split-SCd-24,acrylic on canvas, 24 x 24 inches

Rhomboid Redux, 2011

Rhomboid Rumba was a big hit last week. I loved curating it. So when images continued to arrive, I decided to extend the idea into a second post. So this is a Diamond Deux, a Parallelogram P.S., a Rhomboid Redux

Here: Karen Schifano,  Lower East Side, 2011, oil on canvas, 10 x 8 inches

My New Best Friends, 2010

Wouldn’t you know that as soon as I turned my square 45 degrees, I started to other art out there with the same skew, as well as rhomboids with varying degrees of elongation. I love when that happens. Say hello to some of my gems and a few of my new best friends.

Here: Grace DeGennaro, gouache on okawara paper

Spring Greens, 2010

In homage to the Vernal Equinox, I curated a post with a primavera palette of shoots and new growth. What's not to love about a hue that starts out so fresh from its push into the light that it's almost translucent, deepens with chlorophyll, and then embraces a spectrum of verdancy that explodes into bloom? 

Here: Douglas Witmer, Green Gloves, 2009, black gesso and acrylic on canvas, 24 x 20 inches

Cloth? Not, 2010

If you look closely, you can see that the work at left is not a textile at all but tissue-thin wood veneer that’s been cut into a simulacrum of a doily and draped over a rod. It started me thinking about Linda Besemer’s no-substrate acrylic paintings, which are also draped over a rod; of David Ambrose's perforated gouaches that compress architecture and textiles into exquisite rectangles of art history; and of my my own small reductive color fields of encaustic on panel, which assume some semblance of silk. Things developed from there.

Here: Susanna Starr, Not So Domestic, 2007, handcut maple and mahogany wood veneer, 45 x 48 x 6 inches

Salvage Operation, 2009

Normally I don't include my art fair reportage in the "curated" category--it's edited, not curated--but this time I paired what I saw with photographs from Joy Garnett's Unmonumental series 

Here: Angela De La Cruz, from the Armory Show, 2009

Cold Come Stand Next to These, 2009

On a cold day in January I gathered some paintings and sculptures for a visual "bonfire" to warm the spirit

Here: Morris Louis at Paul Kasmin Gallery


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