performanceritual.blogspot.com
Performance Ritual: New Painting: 'House on Marconi'
http://performanceritual.blogspot.com/2010/12/new-painting-house-on-marconi.html
Occasionally illuminating thoughts from a moderately successful painter. Wednesday, December 22, 2010. New Painting: 'House on Marconi'. House on Marconi 2010, 5.5 X 8" acrylic on illustration board. It’s an odd sensation painting something that one walks by everyday. The subject of ‘House on Marconi’ sits only a few yards from our front door. This blog is an attempt to provide a psychological and social context for my work. View my complete profile. New Painting: House on Marconi.
dkliner.blogspot.com
Dion Kliner: September 2012
http://dkliner.blogspot.com/2012_09_01_archive.html
Art Criticism and Catalogue Essays. Saturday, September 01, 2012. Nairy Baghramian: Class Reunion. For North America's first exposure to the art of Nairy Baghramian the. Contemporary Art Gallery has chosen Class Reunion. 2008), a collection of eighteen individual sculptures made of cast rubber, metal, and epoxy resin that are witty and intelligent. By the ensemble's title (and the titles of the individual sculptures) we are encouraged to see the gathering as a quirky cast of characters. Considering balan...
dkliner.blogspot.com
Dion Kliner: May 2013
http://dkliner.blogspot.com/2013_05_01_archive.html
Art Criticism and Catalogue Essays. Wednesday, May 01, 2013. Day Treadeth On Night. DAY TREADS ON NIGHT (After Gill), 2012, plaster, clay, 11cm x 21cm x7cm (each). What do you see when you look out at the world? Is it primarily material or is it concept? An underlying organization of ordered elements, or a whirling chaotic randomness? However we see our world, it is very much through the acquisition and use of language, especially speech, that we individually make our peace with it. Night Treadeth on Day.
dkliner.blogspot.com
Dion Kliner: October 2013
http://dkliner.blogspot.com/2013_10_01_archive.html
Art Criticism and Catalogue Essays. Wednesday, October 16, 2013. Darcy Mann: Into the Forest. Balagan, oil on canvas, 48 x 54 inches, 2012. Scapegoat Bush, oil on canvas, 54 x 48 inches, 2014. 80 Miles Per Hour, charcoal on paper, 32 x 48 inches, 2013. Some of the materials Mann draws with are the carboniferous remains of forest fires, but this isn't of overriding importance to her. Mann's relationship to her shrubs and trees is frustratingly complex. Them Much as it might be hoped for or expected, the i...
dkliner.blogspot.com
Dion Kliner: Darcy Mann: Into the Forest
http://dkliner.blogspot.com/2013/10/darcy-mann-into-forest_5039.html
Art Criticism and Catalogue Essays. Wednesday, October 16, 2013. Darcy Mann: Into the Forest. Balagan, oil on canvas, 48 x 54 inches, 2012. Scapegoat Bush, oil on canvas, 54 x 48 inches, 2014. 80 Miles Per Hour, charcoal on paper, 32 x 48 inches, 2013. Some of the materials Mann draws with are the carboniferous remains of forest fires, but this isn't of overriding importance to her. Mann's relationship to her shrubs and trees is frustratingly complex. Them Much as it might be hoped for or expected, the i...
dkliner.blogspot.com
Dion Kliner: February 2014
http://dkliner.blogspot.com/2014_02_01_archive.html
Art Criticism and Catalogue Essays. Saturday, February 22, 2014. Lyse Lemieux: Shaped Drawings: something wrong about the mouth. Red and Yellow Figure with Orange Fabric. Red with Open Mouth. When John Singer Sargent said, "A portrait is a painting with a little something wrong about the mouth," he made a complex, puzzling statement. Was he simply making a neutral observation, or was he talking about their relative value as art? Red with Open Mouth. Red and Yellow Figure with Orange Fabric. Lemieux's tip...
dkliner.blogspot.com
Dion Kliner: Quality
http://dkliner.blogspot.com/2014/11/quality_6.html
Art Criticism and Catalogue Essays. Thursday, November 06, 2014. Post-Mortem and the Neo-Supine. In 1999 I was still living in New York and working at Dia, and this is what I thought:. Where is the vitalness? Its loss is the loss of the convictions, the assurances, and the expectations of art. It’s the inevitable running down of the clock. Death of art? No That would be a relief. Too dramatic. It’s worse than that. It’s simply stagnation. In the years since, nothing has happened to change my mind.
dkliner.blogspot.com
Dion Kliner: November 2014
http://dkliner.blogspot.com/2014_11_01_archive.html
Art Criticism and Catalogue Essays. Thursday, November 06, 2014. Post-Mortem and the Neo-Supine. In 1999 I was still living in New York and working at Dia, and this is what I thought:. Where is the vitalness? Its loss is the loss of the convictions, the assurances, and the expectations of art. It’s the inevitable running down of the clock. Death of art? No That would be a relief. Too dramatic. It’s worse than that. It’s simply stagnation. In the years since, nothing has happened to change my mind.