FEBRUARY 24, 2020
BOMB Magazine | Following the Logic of Paint: Jennifer Coates Interviewed by Stephen Ellis
"Over the last few years Jennifer Coates has been quietly building a woodland world. It’s a painted world made of forests repurposed from Henri Matisse, Pablo Picasso, Ernst Ludwig Kirchner, Franz Marc, and other early twentieth-century poets of the pastoral who were themselves updating Claude Lorrain, Nicolas Poussin, and Jean-Baptiste-Camille Corot. Coates peoples her forest with mythical beings—lion- or horse-headed women, satyrs—as well as the odd bear or deer. The mythical and the familiar flow together or apart according to the mood of a given painting or drawing. Coates’s Forest of Arden isn’t only a fairyland refuge: from one minute to the next, luxe, calme et volupté shift to toxicity, disquiet, and nausea. The woods are not a simple place to be these days."
FEBRUARY 13, 2019
Sound & Vision Podcast | Episode 199: Jennifer Coates in Conversation with Brian Alfred
"I look at Cezanne’s bathers all the time, so if it appears that I’m looking at Picasso, it’s because he was looking at him too With all my work, there’s a lot of art history going on, and there’s a lot of merging figure with landscape, the line with field." - Jennifer Coates
NOVEMBER 16, 2019
Two Coats of Paint | Studio visit with Jill Levine by Susan Wanklyn
"I know you don’t really think about magic directly. You have a straightforward, intelligent approach to the making of your work, which has this awesome power. It’s nice to know that that power is just a result of going ahead with making the object very carefully, methodically, and with an open mind. And you proceed from there into the creation of this entire ‘magical’ world."
NOVEMBER 13, 2019
I Art New York | Episode 12: Interview with Jared Linge and Jill Levine produced by Izabela Gola and Rebecca Major
"I ART New York podcast is a guide into the NYC Art Apple. Released bi-weekly on every 1st and 15th day of the month, 60 min episodes grapple with the question: How to love art in the big city, why to pay attention to it, and how to relate to it? Hosts of the show, Rebecca and Izabela in the first half of the “art hour” offer an alternative review of the large NYC museum retrospectives and selected gallery shows, soaked in candid criticism and diffused by humor."
NOVEMBER 2, 2019
Two Coats of Paint | Amanda Church : The contemporary gaze by Adam Simon
"Church’s paintings indulge the viewer’s desire for coherence while managing to sustain an exquisite limbo between the not-really-abstract and the not-quite-narrative. It’s a delicate balancing act and what is remarkable about these paintings is how layered the references are, and how much Church manages to say with her tongue in her cheek. "
OCTOBER 14, 2019
As Mag | Of Tenements and Transfiguration: Hanna Von Goeler "Reverse/Alchemy" by Jeanne Brasile
"Her choice to suspend her work from clotheslines, a symbol of the poor and working class, transforms the piece into a signifier of the people who lived here at the height of the Great Migration around the turn of the 20th century...What is also remarkable about the show, aside from von Goeler’s thoughtful consideration of the locale and its history, is her use of paint, rather than fiber, to create the draped ‘rags.’ Each rag, affixed to the cotton clothesline with actual wooden clothespins, demonstrates an alchemic triumph with her ability to transmute the raw materials — acrylic paint and pigment — into convincing replicas of cotton cloths.."
SEPTEMBER 26, 2019
Hanna Von Goeler: Reverse/Alchemy | Video by: Sam Vladimirsky
"I allow [ideas] to cross pollinate with other ideas and eventually I come to something that I feel is interesting enough to show publicly... I like to fluctuate with precision and complete chaos, I think both have value artistically."
SEPTEMBER 1, 2019
Gorky's Granddaughter | Mary Jones, August 2019
Christopher Roy and Zachary Keeting in the studio with artist Mary Jones, discuss her collective body of work.
Hand Papermaking Vol. 34, No. 1 | Historical, Social, and Artistic Implications of Collaboration in Contemporary Hand Papermaking by Katharine Lark DeLamater
"This collaborative partnership with historical craft continues to nourish the evolution of our discipline. Even the smallest glimmers of insight into historical production or problem solving can inform contemporary paper making practice and discourse. Artist Eleanna Anagnos’s involvement at the Oakdale Research Facility is a strong example of combining historical practice and contemporary experimentation."
JULY 31, 2019
Abstract Room | Eleanna Anagnos- The Interview by Anne-Valérie Kirmann
"Yes just as the Rosetta Stone can serve as an essential clue to a new field of knowledge, my work takes us on a perceptual journey that expands our thinking and physiology about our existence and an understanding of our lived reality in a larger context. At least, this is my hope. I am interested in learning what we have in common with the person who made the Venus of Willendorf. Across cultures, race, time and space, what are the essential things we share? I believe we are connected to one another and to our ancestors through a collected unconscious and I want the work to speak to that. I want it to speak to our past, present and future all at once."
JULY 17, 2019
Design Milk | Unpainting: The Ethereal Art of Ryan Crotty by David Behringer
"You don’t ever feel like you’re looking AT a Ryan Crotty painting… you feel like you’re looking THROUGH it. He produces an “x-ray” effect that reveals the unseen skeleton of the structure behind the canvas, while ALSO producing a beautiful painting on its surface. . . . The most surprising secret of his process is revealed when examining the sides of the paintings. Small gobs of paint collect on the edges of the canvas (below) to reveal a historical record of the exact order of colors applied to the surface. Examine them all and you’ll find only 3 colors: red, yellow, and blue. There is no green, purple, or orange paint in any of these. The ILLUSION of those colors is produced by the translucent laying of the 3 primary colors, carefully monitored and controlled in thickness and density."
MAY 23, 2019
Maake Magazine | Eleanna Anagnos Mother Tongue by Emily Burns
"The forms carry messages, in part the impressions of their making—the artist’s hands working, pinching, pressing her fingerprints into the giving softness of the material—cathartic and methodical, like sourdough. The raw material, so different from the life of its final form, which dries or bakes solid, brittle, and resistant to the sculpting touch. The finished works in clay and paper are similarly delicate, though opposed in their delicacy—the clay hard, but subject to cracking, the paper subtly pliable but subject to the threat of moisture, fire—elements that could melt or burn the pulp."
APRIL 25, 2019
Arte Fuse | Bobbie Oliver: Residuals at High Noon Gallery by Patti Jordan
"Bobbie Oliver’s solo exhibition Residuals at High Noon Gallery consists of a visually striking series of mysterious blue paintings in varying sizes. Residuals – the residue of paint accumulated on the surface of the canvas also signifies for Oliver a “lived life” that is revealed in the process of making, and is embedded in knowledge accrued in her forms over time. Created within the past two years, these abstractions are part of a larger story and proffer a visual language spanning not only a period of years, but decades. In keeping with the show’s title, the mystery of just how these forms “reside” in space may lie somewhere in the balance between chance and deliberation as they beg the viewer to question: Where are they, and how did they get there?"
APRIL 9, 2019
Two Coats of Paint | Bobbie Oliver's Flood of Associations by Robin Hill
"Stepping into Bobbie Oliver’s solo exhibition “Residuals” at High Noon triggers sensations of spaciousness, familiarity, and equanimity. Initially, the paintings invite narratives of how the residues of saturated, ultramarine pigment on canvas came to be, and to what genomes they belong — architecture, the body, the cosmos, the atmosphere, the petri dish? A flood of such inevitable associations arises, only to fall away as a strong optical pull takes over, and we settle into the paintings’ spatial and cosmological resonances. One is struck by the feeling that the forms themselves are in slow, albeit imperceptible, processes of transformation."
FEBRUARY 9, 2019
dArt Magazine International | Travel Light by Christopher Hart Chambers
"This exhibition lays it out quite plainly: Beautiful, magnificent, sad, painful, over. All of the colors of our lives, the shapes of our bones, the contours of our minds – because several of the x-rays are of brains. The abstract expressionist gestures and flailings, Diana’s Beautiful Brain, that’s us. The hues, shapes, that become all that we will ever know or understand, and what is inside of us, what comprises us, are more of the same; however banal the photo imagery of our insides are."
JANUARY 26, 2019
Arte Fuse | Robert Otto Epstein: This is Heavy at High Noon Gallery by Kate Menard
"Robert Otto Epstein has found inspiration in a variety of systems, from knitting patterns, to 8-bit color coding, to random chance. He has been known to produce both figurative and decorative work, and some of his pieces are a melding of the two. Though it is consistently linked to concepts of mass production and digitalization, rooted in deconstructionist philosophy, Epstein’s art is always made — at times painstakingly — by hand."
JANUARY 28, 2019
The New Criterion | The Critic's Notebook by James Panero
"In a digital age, Robert Otto Epstein goes analog. With Bauhaus-quality painting inspired by eight-bit video games, he mixes inventiveness and humor with his own obsessive painterly abilities. Now in its final week at the Lower East Side gallery High Noon, “This is Heavy,” Epstein’s first solo exhibition in New York, applies his sense for pattern to the third dimension, with the silhouettes of vessels covered in bit-mapped whimsy."
JANUARY 21, 2019
Painters' Table | Seen in New York, January 2019 by Paul Corio
“In the entrance gallery, the pieces are covered with gridded hieroglyphics, but in the main space the application of color, sometimes black and white, sometimes in a candy-colored rainbow, brings me back to where I started this essay – the pixelated low tech video game motif is used to great effect here, and the flickering light that it suggests keeps the pieces from looking and feeling like they weigh a ton, even though they do."
NOVEMBER 29, 2018
ARTNEWS | Be a Body: Shows Around New York Take Up the Materiality of Screen-Based Work by Rahel Aima
“Entirely analog but no less charming were Daina Mattis’s 'Test Swatch' oil paintings at High Noon that set color swatches against marble. Their palette is littoral, moving between light seafoam and the near-black of the deep ocean at night. But here, the screen is not plasma or liquid crystal or even CRT but stretched linen; cutouts in a number of these works make the artifice apparent.."
OCTOBER 1, 2018
Two Coats of Paint | Lindsay Walt: Infinite Space, Logical Form, and Inner Contemplation by Lilly Hern-Fondation
“In her new paintings and works on paper, Lindsay Walt works with geometric structures that appear as though they have materialized out of thin air. In compositions that balance atmosphere and striation, repetition and variation, structured order and dissolution, she moves towards a manipulated immateriality rendered in blue."
AUGUST 3, 2018
Politics / Letters | Art of #MeToo: Cara Cole's "Illuminated Manuscript" by Theresa Smalec
“Illuminated Manuscript derives from what Cole calls her “Rape Narrative”: a document that the artist wrote as part of a larger investigation into a professor’s alleged misconduct. In her artist’s statement, Cole writes that investigators redacted parts of the larger university report that included her narrative. (Labor laws are such that accused employees have full, unredacted access to these reports, whereas complainants only get redacted reports—often months later and often after having to petition for them). After several years of feeling stripped of agency, unable to create anything new, the artist decided to revisit her narrative and subtract from it on her own terms."
JUNE 18, 2018
The American Scholar | Earth, Abstracted by Noelani Kirschner
“Abstraction is a way to mix metaphor and language. After painting for many years, sometimes the ideas that come up are things that you did. I’ll be in the middle of painting, and a childhood memory will reflect in the work—some slight passing familiarity. There’s an odd cycling back where you think that you’re doing something completely new and then you think, ‘This is completely familiar, who am I borrowing this from?’ and you realize that you’re borrowing it from yourself. It’s about understanding your own personal language. You don’t want to keep using the same tropes over and over again, but after a while, you start to embrace them because they’re yours and they don’t have to be unfamiliar."
MAY 19, 2018
Ali Miller in Conversation with David Cohen
Artcritical's David Cohen sat down with Ali Miller to discuss her NY solo debut, Insatiable. Full Video >>>
APRIL 18, 2018
artnet News | See Theresa Hackett's Unpredictable, Dripping Landscape-Inspired Paintings by Taylor Dafoe
"We're not always aware of it, but the landscape perspective is our default way of viewing," Hackett says. "We're grounded in the landscape at all times. I want to play with that familiarity. It's like when you get off the subway and come out from underground and for a second you have that moment of fear. Even if you've lived in New York forever and know where you are, for some reason everything feels turned around. That's a nice place to make a painting." Full Article >>>
APRIL 16, 2018
Two Coats of Paint | Theresa Hackett: Melt down by Sharon Butler
Climate change is in the air, so to speak. I recently finished binge-watching Fortitude, an ongoing British sci-fi series about a Norwegian research outpost in the Arctic. The permafrost has begun to melt, unleashing unexpected horrors including species-jumping bacteria and a dangerous buckling effect whereby layers of ice melt at different rates and leave perilous holes. So when I saw “Slippery Slope,” Theresa Hackett’s sharp and thoughtful exhibition at High Noon, on view through April 22, I had been conditioned to read jeopardy into her large-scale panels depicting abstracted landscape cross-sections. Full Article >>>
JANUARY 12, 2018
Hyperallergic | Retooling Paint for the Digital Era by Stephen Maine
In the introduction to his Complete Techniques, the chef Jacques Pépin writes, “There are no secrets or tricks, only feats of skill (tours de main) acquired with prolonged effort.”
In his quietly dazzling New York solo debut, painter Ryan Crotty demonstrates that the same is true of a certain strain of process-oriented abstraction, in which a refined (if idiosyncratic) technique is indispensable to the pictorial outcome. In so doing, he makes some of the most gorgeous paintings around town right now, and joins a cohort that’s retooling post-painterly abstraction for the digital era. Full Article >>>
JANUARY 8, 2018
Art and Cake | Studio Visit: Fatemeh Burnes, Embracing Chaos by Gary Brewer
Memories are woven together with filaments and tendrils, the sway of a branch or the curve of a river’s course; layers of improvised painterly processes all spilling forth in expressive spontaneous gestures – intricate layers of technique and images, the forms taking shape as though guided by an external impulse. The overall work expresses itself in a singular cohesive whole composed in fragments of thought, emotion and imagination. Fatemeh Burnes is a ‘medium’. Her depth as a painter allows her to be Sibyl-like, spilling forth visual utterances. It is a form of free association that places her in a line extending from da Vinci’s suggestion, to allow the stains on a wall to inspire compositions, to Max Ernst’s surrealist frottagetechniques. Full Article >>>
JANUARY 8, 2018
Hyperallergic | 9 New Galleries that Opened in New York City in 2017 by Elena Goukassian
Founded by California native Jared Linge, HIGH NOON opened in October with a two-part group exhibition, The Painted Desert, highlighting paintings, sculptures, drawings, photographs, and collages by the gallery’s 18 represented artists. (Full disclosure: I wrote the gallery’s inaugural exhibition essay.) HIGH NOON’s current exhibition, Ryan Crotty: Never the Less, featuring photographic abstract paintings covered with translucent layers of paint, is open through February 4.