Lluís Lleó

"a compelling desire to release fresco painting from the confines of architecture and bring it to life as a three-dimensional, experiential object."






R 20th Century will be premiering the work of Lluís Lleó in Design Miami Basel 2012.

"Lluís Lleó (b. 1961), is a self-taught, fourth generation painter who grew up immersed in the classical history of painting from ancient times through the 20th century. His father, Joan Lleó, influenced Lluís’s particular interest in fresco painting by giving Lluís early exposure to his studio work and to the spectacular medieval frescoes in museums as well as in the rural churches and chapels throughout the Spanish countryside.

By definition, a fresco painting is intrinsically part of a building—the water-based paint is chemically bonded into the wet plaster. Much of Lluís Lleó’s work references this tradition, while at the same time exhibiting a compelling desire to release fresco painting from the confines of architecture and bring it to life as a three-dimensional, experiential object. Many of his pieces combine painting, design, architecture and sculpture in one exquisitely minimal and elegant form.

As curator Pilar Parcerisas wrote, Lleó “does not apply painting to architecture, but he transforms painting into architecture.” In his work, Lleó unites a very classical approach to painting—as well as his almost innate talent for the art form—with his uniquely contemporary ideas about how art can be experienced. Lleó’s masterful, almost playful, manipulation of form, volume and light offers the viewer a sense of discovery and wonder. Born in Barcelona, Lleó lives and works in New York, NY. His work is included in museums and collections worldwide."


Design Miami/ Basel is the global forum for design. Each fair brings together the most influential collectors, gallerists, designers, curators and critics from around the world in celebration of design culture and commerce. Occurring alongside the Art Basel fairs in Miami, USA each December and Basel, Switzerland each June, Design Miami/ has become the premier venue for collecting, exhibiting, discussing and creating collectible design. Design Miami/ is more than a marketplace for collectible design, where the world’s top galleries gather to present museum-quality exhibitions of 20th and 21st century furniture, lighting and objets d’art.



all photos by Sherry Griffin/R 20th Century.



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I don't look for anything.
It comes to me.

Jack Bush, 1977









"I don't look for anything. It comes to me. I may be walking along a road and I see a mark on the road; it looks interesting, so I try it out as a painting. Or looking at some flowers in the garden - how can I get the feel of those colours, of the flower colours, the nice smell and everything? ...

I'm not painting flowers. I'm painting the essence, the feeling to me only, not how somebody else feels about those flowers, only me. Then I forget the flowers and make a good painting of it if I can."

Jack Bush, 1977,
taken from here...



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Jack Bush was a member of the Toronto artist group Painters Eleven who banded together in 1954 to promote abstract painting. Through this involvement he met the influential New York City art critic Clement Greenberg. Bush was encouraged by Greenberg to abandon his Abstract Expressionist style characterized by hovering amorphous shapes on the picture plane. He would simplify his composition by using an all-over coverage of thinly applied bright colours inspired by his watercolour sketches.

His work is based on an abstract record of his perceptions. He did not expect the viewer to see the flower or hear the music that inspired his work, but only to share in the feeling through his painting.










(currently soaking in the works of the painters eleven)
a collective from 1953 to 1960 of painters in toronto....
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new work
by connors
at canada
this fall.

Matt Connors.
October 22 – November 21
@ Canada, New York

ah. hoping to be in new york if i can get
my act together for the opening of this show.








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Nicolas Carone,
1917-2010

"One of the last surviving Abstract Expressionist painters,
died on July 15 at his home in Hudson, N.Y."
















"Mr. Carone was present at the beginning of the New York School and friends with Jackson Pollock, Willem de Kooning, Mark Rothko and Lee Krasner. But his best work may have come long after the style faded, in the large paintings in shades of black, white and gray that he made during the last two or three decades of his life. The shifting lines and layered brushwork of these works most completely integrated the classical figurative tradition he absorbed during his earliest art studies and the instinctive painting processes of Abstract Expressionism.



Mr. Carone was born in June 4, 1917, on the Lower East Side of Manhattan, the eldest of seven children of Italian immigrants. He grew up in Hoboken, N.J., where his father was a bartender, and began drawing at age 4. When he was around 11, his mother sent him to the Leonardo da Vinci Art School on East 10th Street in Manhattan, which offered instruction for a small tuition. "




read Roberta Smith's NYT article here..







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Sigmar Polke
1941-2010

Sigmar Polke,
via NYTIMES



Sigmar Polke, an artist of infinite, often ravishing pictorial jest, whose sarcastic and vibrant layering of found images and maverick, chaos-provoking painting processes left an indelible mark on the last four decades of contemporary painting, died yesterday in Cologne, Germany. He was 69; the cause was complications of cancer, according to Gordon Veneklasen, a partner at the Michael Werner Gallery New York, the artist’s chief American representative.

"Sigmar Polke is an artist whose work defies easy definitions. He is one of the most significant painters of the post-war generation, yet his career has by no means been confined to painting. Since the early 1960s Polke has experimented with a wide range of styles and subject matter, bringing together imagery from contradictory or unexpected sources, both historical and contemporary, and using a variety of different materials and techniques. In fact Polke’s artistic diversity, and his resistance to any form of categorisation, has been seen as the only consistent theme in his work."

via the tate
modern....






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STEVEN PARRINO
Spin-Out Vortex 2, 2000
Enamel on canvas
71-3/4 x 71-3/4 inches (182 x 182 cm)




John Mccracken

Untitled (Blue Wedge), 1968
Fiberglass and natural cellulose lacquer on plywood. 96 1/4 x 24 1/4 x 48 in. (245.7 x 62.2 x 121.9 cm). Signed and dated

1950's industrial lamp.



Stephen Parrino

(first, second, and third images)

"When I started making paintings, the word on painting was "PAINTING IS DEAD." I saw this as an interesting place for painting… death can be refreshing, so I started engaging in necrophilia….. Approaching history in the same way that Dr. Frankenstein approaches body parts… Nature Morte… my contemporaries were NO WAVERS… BLACK FLAG-ERS… and this death painting thing led to a sex and death painting thing… that became an existence thing… that became a "Cease to Exist" thing… A kind of post-punk existentialism. I am still concerned with "art about art", but I am also aware that "art about art" still reflects the time in which it was made. Content is not denied… Content is not obvious… Content is sustained in the air or the vibe of the work."

taken from gagosian gallery, read and see more here.

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