On the Geologic Painting

Lately I’ve been jotting down a few ideas in my sketchbook pertaining to geologic painting. My focus is specifically on how to categorize it as a practice set apart from previous modes of painting. While categories are rather arbitrary they nevertheless are useful for laying out one’s own attitudes via painting; this is because aestheticContinue reading “On the Geologic Painting”

Accept That I Can Plan Nothing

  “Accept that I can plan nothing. Any consideration that I make about the ‘construction’ of a picture is false and if the execution is successful then it is only because I partially destroy it or because it works anyway, because it is not disturbing and looks as though it is not planned. Accepting thisContinue reading “Accept That I Can Plan Nothing”

The Art Desert

Awhile back I bought a flat file from John Glick’s studio. In one of the drawers there was a copy of Art in America from October 1990. After thumbing past 39 pages of advertising I found the letters to the editor section. I rummaged through the comments and arrived at one that was striking, entitled Communique fromContinue reading “The Art Desert”

“A Catastrophe Overcame the Canvas”

“We do not listen closely enough to what painters have to say. They say that the painter is already in the canvas, where he or she encounters all the figurative and probabilistic givens that occupy the canvas. An entire battle takes place on the canvas between the painter and these givens. There is thus aContinue reading ““A Catastrophe Overcame the Canvas””

Notes On Style & Environment 3: Expressions of the Field

In the second text I briefly explored evocative images. I placed it in connection to expressionism. The approach for this mode of expressionism has been for the subjectivity of the artist.  But a glaring ommission exists in narrowing expression only to the subject of the painter. In the second text I tried to draw outContinue reading “Notes On Style & Environment 3: Expressions of the Field”

Notes on Style & Environment 1: Critique of Concrete Painting’s ‘Counter-Nature’

Harold Rosenberg says in his essay Criticism and Its Premises, found in the collected texts Art on the Edge, “Modern art is saturated with issues and ideologies that reflect the technological, political, social and cultural revolutions of the past one hundred years. Regardless of the degree to which the individual artist is conscious of theseContinue reading “Notes on Style & Environment 1: Critique of Concrete Painting’s ‘Counter-Nature’”


What is it like to be on the threshold of a generalized lack of confidence in the sign? This question is Malevich’s question. To begin at the zero, or otherwise at the undecidable Black Square. His take on the crisis of the sign is unique. It informs some of my sympathies in its utopianism. BeyondContinue reading “Transitions”