Malcolm

Contrapposto

The House Across from Saint Charbel

Studio Chair with Bottle and Floral Fabric

Sunny Morning

The Decoy

Late Winter, Tinicum Preserve

Still Life with Shell

Pinball

Acadia

Invented Landscape

Farmhouse at Night with Floodlights

Grotto Light

Pink Cloud

Catch

Cherry Blossom (Nashville City Cemetery)

Mary in Studio

Autumn Trees

Only Sleeping

Clay Head

Village View in Molyvos

Wooded Pool I

Mending Nets

Picking Apples

Noir

Fall (From the Window)

Leaving America

Window View  #1

Pond

Outside the Museum

Walkers Point Studio

Cathedral

Acadia- Witch Hole

Lighting Store in Daylight

Woman on the Boat Deck, Night

Practice

DISCOVER THE SELECTION:

"I’d say there exists in Ana Neifeld’s work a special energy. She once told me that to her, a painting wants to live: that a painting is a radiant object, and for it to come alive, she must listen to it, converse with it. Which figures: paintings like Ana’s could not be coerced or foisted or instructed into being. On the contrary, only the keenest sense of freedom, an openness to experience, and the will to circumvent tradition in favour of something bigger, will do. I think this approach has great strength: not only is the outcome thrilling, but it also tells me that in painting, anything is possible."

M Train Passing

Like There Was a Door

Ana Grace Neifeld:

"In the 1880s-1890s Ensor, Hammershoi, Bonnard, Vuillard and others began painting the backs of chairs, the corners of tables and empty rooms. Like little poems of something and nothing, sometimes in such work a great tension is felt. In contemporary painting, artists are again being drawn to the strange possibility. I think about this when I see the work of Jackson Joyce (although his work encapsulates much more). There is a quietness and a gravity too, of a life seen in glimpses- isn’t that how we so often remember things?- and the paintings grip me with a mysterious power, something like memory."

Messenger in the Storm

The Pond

Hiding

Jackson Joyce:

"Dagny Bock’s work has a certain character which speaks to beauty in my eyes. She attends to the weather and the seasons and geography in the company of great Canadian landscape painters. But also there is something unconventional going on, a certain rhythm or movement relating to shape or form, which continues in the tradition of modern painters such as Marsden Hartley and Arthur Dove. In the trees, skies and rounded edges, there is something so pure, it seems not terribly human; could it then become a matter of the soul?"

Fall on the Rio Grande

The Garden

Dagny Bock:

"I like painting that vacillates at the edge of the possible, especially in terms of space: creating it, flattening it, obscuring elements lest they restrain us in an illusion of dimensionality. There is so much to enjoy in Zack Rosebrugh’s work, the mood, the colours, a lightness of touch and a sense of humour, but my intrigue is held in those impossible spaces. In this regard it seems Rosebrugh, who came to painting via illustration, has the idea to follow Matisse and Diebenkorn in taking up the serious challenge of exploring what paint can achieve in and out of rooms."

Red Studio Sitter

Dark Studio with Stretched Canvas

Studio Cart

Zack Rosebrugh:

"I think being in a room full of Peter Gehrig ’s paintings would be the most beautiful day of my life. When I see Peter’s paintings, I want to look out of the window with Peter, take a walk with him, go on a trip with Peter, sit by the table with him and enjoy flowers and objects and maybe eat a meal if we get hungry. One does not often see paintings with such tenderness, so elegant but so humble: and altogether somehow, life-affirming."

Boathouse in Sandbay

Still Life with Lemons

Still Life with Pears

Peter Gehrig:

"There is a streak of rebellion, which some of us have, that I think Toby Rosenbloom has made her business in painting. Or is it something more obscure? How is she able to reconcile those marks and specks of paint with a place where she once found herself? There is disorder and the mundane, but also brilliant light and delight here. And a spontaneity which affects one almost like a zen koan, jerking the viewer out of daily looking, and giving them a chance to look again differently."

Toby Rosenbloom:

"Although Laura Vahlberg’s landscape paintings are abstracted, they always seem to ring true. They are in a way unified, whole, and believable; in the places she paints you feel yourself there, breathing that air. It’s the keen attention to shapes, light, tone, and to the interaction of colours, that help place the viewer so firmly there, but without being pinned down: the fuzz of brushstrokes demands that we zoom out and be simply present, moored by the light of the day."

Laura Vahlberg:

"In the art of Henry Murphy I sense sheer joy and freedom. His oeuvre is free of rule books. The brushstrokes seem to be urgently noting down something of great importance, too. Almost italicised (bringing to mind Soutine and Kossoff), Henry’s painting is as instantly recognisable as the style of handwriting of a friend or family member one knows so well. Except, perhaps, with Henry it is not so much a question of style, as a burgeoning language of painting unto himself."

Ravine

Man in the Moon

Winter Solstice

Henry Murphy:

"Cody Heichel continues to find his place in the lineage of modern painting. A talented and disciplined painter, for several years now he seems to be adventuring further out, gently away from representation, and in so doing, asking us to imagine with him. But always at the core of the paintings is an intimateness, a sort of care, which I believe to be one of the hallmarks of Cody’s work, alongside and its sincerity."

Cody Heichel:

"The art of Joanna Logue is complicated- not to enjoy, I’d say it is rather easy to enjoy- but complicated to talk about, which I think may be down to how affective it is, how many things it can do at once. Sometimes the paintings appear peaceful, sometimes thrilling; the mark-making sometimes seems so urgent it might have crossed over into carefree abandon; and yet, don’t those trees and ponds tell you of a calm and familiar place, a season or a time so natural, so earthly? To those who have suggested that abstraction in art is history, I say study a Joanna Logue painting, and see that we are really just getting started."

Oneness

Lemon Tree Cottage

Joanna Logue:

"I’ve been following the work of Abigail Dudley for several years and, in whatever she paints, and with whatever commitment to representation or figuration or otherwise, I feel she does so with a lightness that means she can balance a foot in two worlds without falling over. Around the kernel of the subject of the painting there is a soft-edged magic- and not just in terms of where shapes and colours may meet- but the whole painted world, its space, objects, and plausibility, that tips me over into a daydream."

Abigail Dudley:

"In the work of Silas Borsos there is a connection between the artist, his sensations, the world, and the history of art in it. I think that from this, there is a resulting poise: the paintings hold something, some weight- not exactly in equilibrium- but in a particular way. While the ochres and reds and tone might seem ‘old’, bringing to mind the earthiness of pigment in painting over centuries (and beyond), there is also a cleverness and humour at work in the pictures, which makes them feel utterly contemporary."

Brown Chair Dance

Art and Life

Peels and Cherries

Silas Borsos:

"The art of Alex Cohen is a marvel to me. In spite of being so seemingly various in subject, the work always strikes me as intensely characteristic. Alex once said to me that when he works it is like following breadcrumbs that lead in so many directions. But whether it ends in a painting of an everyday space- a garden or a parking lot- or the myth of a screaming bug or a fish out of water, I find his oeuvre to be consistently imbued with personality."

AUGUST NOON

CURATED WITH:

AUGUST NOON

ABOUT ALEX ROSSITER: