February 15, 2023
Two Coats of Paint | Multi-dimensional: Eozen Agopian's string paintings by Lisa Taliano
"Each painting is filled with textured and patterned material representations of perceptions and feelings that refuse to recede into the shiny, homogenized artifices of digital capitalism. The tangible thickness of the object resists the insubstantiality of the purely visual image. Fragments of objects in this tactile space give expression to the experience of the 'lived-body' in the world. Here, the fabric of the painting is its 'skin,' where feelings and impressions are registered. At the same time, the space of the painting changes and takes on the form of whatever inhabits it, as Agopian makes and unmakes the painting with patches, paint stains, tangled splotches, and clustered knots."
May 5, 2022
The New York Times | At NADA, a Glorious Collision of Paintings and Ceramics by Martha Schwendener
"What’s called pluralism — simultaneous strains of art — extends to painting and everything under that umbrella is represented here: figurative painting, abstraction, paintings made without paint, and what might be called “punk” painting, or art works in which the artist appears too cool to expend much effort. New York’s Kapp Kapp (Booth 2.02) covers this range, with a lineup of crisp, botanically inspired paintings by Molly Greene and homages to graffiti-and-collage by Hannah Beerman. Occupying the opposite pole of painting are the socially engaged works of Karla Diaz at the Los Angeles gallery Luis De Jesus (Booth 5.03). Diaz’s deep, color-saturated canvases tell personal stories of migration from Mexico to the United States, as well as preserve folklore from her heritage. Ryan Crotty at the Lower Manhattan gallery High Noon (Booth 6.15) does a spin on modernist formalism, making translucent abstractions with an acrylic gel medium that creates ethereal and iridescent results that look almost holographic. Other notable galleries showing paintings include Stephen Thorpe at Denny Dimin (Booth 6.14); Mickey Lee at One Trick Pony (Booth 6.01) and a group show at The Pit (1.01)."
March 7, 2022
Maake Magazine | Artist Spotlight: Eleanna Anagnos
"I primarily work with paper-pulp. It is an incredibly dynamic medium. Paper pulp can be opaque or transparent, more unwieldy or stable, depending on what type of fiber one uses, or how long it’s beaten. Paper can be recycled or upcycled. Paper is quotidian and recognizable, yet it shifts with different processes, evoking skin, concrete, or blobs of paint. It’s full of inherent contradictions and metaphorical implications. The dynamism of this medium makes it so fun to work with. It doesn’t come easily though. I think of my work as a collaboration with the pulp and me. I am on its time and it requires me to relinquish control and let it do it’s thing."
March 4, 2022
BOMB | Rock, Paper, Scissors: Eleanna Anagnos Interviewed by Fawn Krieger
"I think about containment, boundaries, and thresholds. My most recent work is inspired by the local walls that divide property, the contemporary retaining walls in road construction, and the ancient walls of the Teotihuacán pyramids. Walls are used differently in Mexico. In the States, the walls create a strict distinction of public and private space; here the walls are permeable. Vendors sell their products to you from the streets and communicate with different sounds to let you know they have arrived.
I created my own sort of frantic logic based on these observations with my Hugging the Line series (2020–present), which are included in the exhibition. I grouped paper, rocks, and minerals in a grid and dry brushed a sumi ink boundary line around them. The groupings make these genderless blobs that interact with and embrace one another."
January 19, 2022
artcritical | Mystery Cult: Jennifer Coates in a Brush with Mythology by David Brody
"Bacchanal Before a Herm of Pan ridicules the sublime, if rather stiff, Poussin painting of that title as a girl orgy, complete with two hapless goats. Wry gender critique aside, the painting’s busy, stop-motion scenography seems like an attempt to do the master over again after Henry Darger –– or vice-versa. In any case, thoughts of Cézanne’s 'after nature' version of Poussin, his bathers, cannot but come to mind. Poussin’s trees are uncannily naturalistic, his figures –– extricated from sarcophagi –– not so much, and thus there is a certain logic to the way the trunks and limbs of Cézanne’s bathers undergo metamorphosis, like the nymph Daphne, into timber. And thence into Cubism, and all that followed."
January 2, 2022
Two Coats of Paint | Jennifer Coates and the Landscape's Afterglow by James J.A. Mercer
"At first glance the scenes might look preciously idyllic, approaching twee pastoralism. Thickets of branches weave slyly in and out, flexing elegantly and bending weightlessly. But Coates is onto something far more substantial. Layers of paint become layers of time, spectral mists obscuring here and revealing there. Like the forests, figures are drawn in an open, unencumbered way, with basic arcs and clear lines. Their simplicity puts distance between them and us, so that the nudes live in a realm of pictures, emphatically unreal. They are archetypes within archetypes, dreamier than the dreamy scenes around them."
December 27, 2021
Hyperallergic | Jennifer Coates Communes with the Gods of Nighttime Revelry by Seph Rodney
"A thought experiment I sometimes engage in when looking at art is to ask myself what kind of god would make the world that is being represented or alluded to in the work I’m seeing. In my experience there are many gods: the god of second chances, travel gods, the god of small things, gods of wine and song. The painter Jennifer Coates evidently communes with the gods of luminous nighttime revelry. In her exhibition Lesser Gods of Lakewood, PA, Coates depicts in a wildly active forest in a foreshortened picture plane that gleams here and there with crepuscular creatures that likely appear only when the sum total of human consciousness is in repose."
November 15, 2021
Art Spiel | Theresa Hackett: Flipping the Plane by Etty Yaniv
"The PA based painter Theresa Hackett has been reflecting on landscape and environmental issues throughout her extensive body of work. Her paintings combine elements of drawing as well as different media such as earth material and plastic. Altogether the process of coalescing these elements is readily visible on the surface —the marks, bold shapes, vivid colors, texture— create landscapes resonating with vitality but also with an urgent sense of loss."
June 28, 2021
ArtAsForm | Episode 3: Bobbie Oliver by Anastasiya Shelest
“I feel like the kind of work I make comes out of a kind of background of minimalism, so I feel that in a way I’m able to make minimal abstract paintings that also have a lot of reference to organic imagery and I’ve developed my own way of working with the material that is very specific.”
May 30, 2021
Two Coats of Paint | Closed-Eye Hallucinations with Jennifer Coates by Paul Whiting
"At first I was so scared. I was monitoring my temperature constantly. As I got more and more exhausted and had trouble moving around without feeling breathless and sweaty, I retreated to the bed. After a few days it became clear I was going to need to stay there for a while. I didn’t have the attention span or focus to read or watch anything, but for whatever reason, it didn’t take too much energy to make digital collages in Photoshop and then drawings from the collages. It’s something I had done before during a hospital stay: I already had a sickbed studio practice. I just went slow and pretty much dissociated. I didn’t want to think about where I was or how long I’d be there or what I would do if it got worse. I had my computer, some paper and pencils and just surrendered. It was a place to escape to and stopped me from thinking about being sick."
May 14, 2021
artcritical | Flashbacks: Theresa Hackett at High Noon by Jacob Patrick Brooks
"In firmly enmeshing herself within early humanity’s aesthetics, Hackett helps us connect to a prehistoric sense of newness and wonder overlapped with the unrestrained horror at the unfamiliar and unknown. Her work helps us rediscover an essential part of ourselves, long buried by the development of the self and organized society with all its trappings. She seems to be searching for the same answers ancient peoples might have been concerned with thousands of years ago, the main difference being they had no access to bright, fluorescent pigments to express them with, and the fossils to be ground up were still being formed around them."
May 11, 2021
Arte Fuse | Theresa Hackett: Around the Bend at High Noon by Jonathan Goodman
"Hanging from the ceiling, the metal panels create a crisscrossing path within the small space; in the backspace, shelves hold 11 by 10-inch paper works that involve imagery similar to the larger works of art. Hackett’s style is freely given, in the manner of earlier modernism. Something brash and beautiful occurs in her work. It might best be described as a celebratory manner of speaking. There is little to worry about or lament in these paintings, which expand outward with joyous energy. The patterns possess numerous elements, and they are forthright and direct in their determination to please. It is an art not determined by introspection but by open disclosure."
April 28, 2021
Two Coats of Paint | Theresa Hackett: Divide and Confront by Riad Miah
"More significantly, those paintings, prepossessing in their own right, serve not only the traditional function of presenting imagery for visual consideration but also the more unorthodox one of adjusting relational aesthetics in light of pandemic constraints. As paintings, Hackett’s works are arguably a bit too large for the gallery space. As an installation, however, they are just the right size to confront viewers, and to keep them from avoiding the physical presence of other gallery patrons as well as the paintings themselves. Hackett may be saying that when human interaction itself has become something of a novelty, all of its forms– including forays to art galleries– should be amplified and celebrated, and never taken for granted."
December 27, 2020
Artfully Learning | Sanctuary by Adam Zucker
"Mary-Ann Monforton’s exhibition of sculpture at High Noon Gallery in New York City examines the semantics of the term ‘sanctuary’ from a few different, yet converging points of view. Monforton’s playful art objects resemble items that might fill a child’s nursery, bedroom or playspace. A combination of nature and nurture is evident in the juxtaposition of aesthetic replicas of childlike objects (i.e. a toy wagon, tricycle and a hula hoop) and the exaggerated likeness of animals. While these images offer an immediate sense of nostalgia and whimsy, there is an overarching poignancy in this imaginary space. Presented without the content of children, Monforton’s sculptures of children’s objects feel like relics or ruins."
November 10, 2020
Whitehot Magazine | 25 Art and Design Picks from Intersect Chicago by Paul Laster
"Presenting 106 galleries from 25 different countries, the inaugural edition of Intersect Chicago, which runs through November 12, offers objects of art and design in a wide variety of materials by an international mix of contemporary artists and designers. Perusing the virtual fair, replacing the venerable SOFA Chicago for the 2020 edition due to COVID-19, we’ve chosen 25 works that we want to add to our collection—ranging from paintings by emerging African artists Anjel and Kelechi Nwaneri and sculptures by the established Roy Lichtenstein and Kiki Smith to surreal ceramics by Judy Fox and Jiha Moon and fascinating photos and collages by Sarah Charlesworth and Della Wells. Scroll through to see more images of our favorite pieces at the fair."
The Brooklyn Rail | Mary Jones: Attachments by Hovey Brock
"The intelligence of Mary Jones’s paintings—and they are fiercely intelligent—does not come from clever readings of conventions around painting, art history, language, or science, although those considerations do figure into her practice. Instead, Jones’s paintings are painstaking explorations of the disjunction between the world as it comes to us through our senses—the information we consume during our waking hours—and the world of our interiority—memories, imaginings, and reflections. Her work lives on a tenuous frontier negotiated as part of the ongoing truce between these two warring aspects of our awareness. Animated by dissensus, it is an obscure space, and not easy to occupy. Jones’s canvases and works on paper are the residue of that struggle."
October 30, 2020
Whitehot Magazine | A Scan Through the Canon: Mary Jones' Attachments at High Noon by Andrew Woolbright
"The show title, Attachments, operates in multiform. Initially, it could be interpreted from the viewpoint of a painter: the attachment of our own connectivity between our bodies and hands to languages of abstraction through its traces-our inability to cover our own tracks. Where the AbEx body fulfilled the athletic gesture, Jones’ work feels internalized, traumatic, and medically scopic- a presence felt more in the spine than in the eyes. It seems more akin to Wols exploring and reworking the exploding head, a valence of abstraction through the traumatized mind induced from torture and war. If this is the case, there’s a multitude of cultural traumas that Jones could be signaling."
August 25, 2020
Design Milk | The "Double Take" Art of Daina Mattis: Flocked Paintings and a Plate Table by David Behringer
"Brooklyn-based artist Daina Mattis rewards those who look twice. Her second exhibition at High Noon Gallery in New York titled 'Family Style' includes fuzzy flocked paintings, surreal hybrid sculpture… and a plate of cookies. It’s a collision of ideas, materials and objects that are a thrill to see in person while questioning ideas of 'luxury' and 'value' in our own homes."
June 6, 2020
Hyperallergic | Artists Quarantine with their Art Collections by Stephen Maine
"I’ve been asking artists to describe recent shifts in their perception of the art in their collections in light of the ways that a global cataclysm can reshape meaning in artworks that predate it. My questions are: In the context of the Covid-19 pandemic, do you look at your personal collection differently now, and which works in particular? Is there one that especially resonates with you at this weird, frightening moment? And does it take on new meaning?"
MAY 20, 2020
Figure/Ground | Conversation with Colin Thomson by Jim Butler
"Having known Colin for several decades, Jim Butler had the good fortune to see his paintings grow and evolve over time. In January 2020, Jim visited his studio in the Brooklyn Navy Yard to interview him about a new group of pictures being prepared for a solo exhibition at High Noon Gallery entitled Unusual Characters that opened on Mar 5th. What followed was a far-ranging discussion about painting, New York, and Thomson’s early formal training in the operation of large bulldozers, scrapers, and road-graders."
APRIL 29, 2020
Art Spiel | Artists on Coping: Jennifer Coates by Etty Yaniv
"At a time like this I am reminded of one of the original reasons I started to draw and paint as a kid – which was because I didn’t understand the world around me and I knew I couldn’t control it – so I felt more comfortable on a two dimensional surface and I was soothed by the action of my hand moving across it. I can’t control much in my life right now but perhaps I can, if not control what happens on the page, at least make a vivid alternative world that speaks to this one."
MARCH 27, 2020
Romanov Grave | One Question / One Answer with Colin Thomson by Daniel Weiner
"It’s clear when looking at your paintings that they are made in layers. Often it appears like the first layer and other under layers are not re-worked once a layer is painted over them. This means that you don’t know what a painting will look like until you paint the final layer. How do you deal with the process of not knowing, both practically and emotionally? How can you tell that an under layer is right when you don’t know what is going to be painted over it? Can you tell if an early layer is more “receptive” in one painting over another? How often do you go back into earlier layers to adjust them to the final layer?"
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."
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."
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
"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."
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."
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."
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."
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 frottage techniques."
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.