Interview with Erick Johnson in the Boston Voyager

 

"I’ve been making art as long as I can remember. I was fortunate to have a mother who was a potter and a sibling who is also an artist, so I grew up in a creative, encouraging environment.

I was born in San Francisco and soon after my family moved to Los Angeles. I remember the light in LA and the saturated color especially.

I went to art school in New York and was exposed to some great artists and their ideas. It was a wonderful experience to be a young artist learning from older generations.

My development was deliberate since I felt I had to paint my way through problems. It was necessary to paint or draw it and see it in the world before I could move on. I’m glad that was the case although it took years..."

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Adam Pendleton profiled in the New York Times.

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"When the unarmed teenager Trayvon Martin was killed in 2012, Florida’s self-defense law known as Stand Your Ground became the subject of much public discussion, though it was ultimately not used in court to defend the shooter, George Zimmerman.

The artist Adam Pendleton nevertheless believed that the law informed the acquittal, which helped prompt the 'Black Dada Flag (Black Lives Matter)' he created for the Venice Biennale in 2015.

'Zimmerman got off because he "stood his ground,"' Mr. Pendleton said in a recent interview at his Brooklyn studio. 'I’m trying to find language that stands ground. I think language that stands ground is "Black Lives Matter."'

Lois Dodd discusses contemporary painting at the Cooper Union alongside Philip Taaffe and Thomas Nozkowski

Click here to see Lois Dodd's watercolors from the 1960s-70s currently on view at gallery neptune & brown.

“The painters Lois Dodd A'48, Thomas Nozkowski A'67, Philip Taaffe A'77 discuss the state and shape of contemporary painting with critics Barry Schwabsky, Faye Hirsch, and John Yau in a free, public event.

How far have artists extended the boundaries of the medium in the 21st century, and what does it mean to be identified as a painter today? Is the word ‘painting’ still adequate to describe a practice which no longer necessarily involves paint or flat surfaces? And to what extent do the ways in which we write about painting influence both the public’s reception of the work and contemporary practice itself?

This event launches the new Lund Humphries Contemporary Painters series of monographs. Following the panel discussion the artists and writers will be signing copies of their new books.”

Foon Sham Named Asian Influence/American Design Visionary Artist of the 2018 Smithsonian Craft Show, installs outdoor sculpture at National Building Museum

“The 2018 Smithsonian Craft Show co-chairs Elizabeth Beck and Susan Vallon announced today that the noted Chinese American sculptor Foon Sham will be named the Asian Influence/ American Design Visionary Artist of the 2018 Smithsonian Craft Show. In making the announcement, Elizabeth Beck said that, ‘Foon Sham exemplifies the talent, creativity and leadership in his field that embodies the theme of this year’s Smithsonian Craft Show: “Asian Influence/ American Design.” We are thrilled that Mr. Sham has agreed to accept this honor. His large-scale sculptures, constructed out of both exotic and common reclaimed woods, have been featured in outdoor exhibitions and museums throughout the United States and world-wide. Born in Macao, China, Mr. Sham is a Professor at the University of Maryland. His deeply-personal works reflect the combined influence of the Asian aesthetic and the American experience which is exactly what the 2018 Smithsonian Craft Show is all about.’”

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Erick Johnson's "(Inside) Out" reviewed in The Washington Post

“Although blurred and scraped, the recurring shapes in Erick Johnson’s brightly hued abstractions are essentially regular. The New York painter calls them “calligraphic parallelograms,” which is evocative, if not literally accurate. Where calligraphy is drawn spontaneously, Johnson methodically applies pigment, partly removes it and then adds more. This yields streaked and layered forms, and results in such serene yet active pictures as “(Inside) Out,” which provides the title of the artist’s Gallery Neptune & Brown exhibition.”

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The Washington Post reviews Michael Craig-Martin at gallery neptune & brown

“A longtime Londoner who spent much of his childhood in Washington, Michael Craig-Martin is probably best known for “An Oak Tree,” a 1973 conceptual work that doesn’t actually feature an oak tree. The screen prints in Gallery Neptune & Brown’s “Quotidian: Recent Editions” are rather more literal. These coloring-book-style renderings — sometimes filled in with bright, simple hues — depict everyday items with the precision of technical drawings. No ambiguity, of either technique or interpretation, is permitted.”

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