The work of Oliver Perkins is the product of voracious looking, playful experimentation, and rigorous editing. His sources are diverse. He mines the histories of art, architecture, and design—now playing on the more restrained monochrome paintings of Robert Ryman, now the tubular balcony rails of 1990s apartment buildings in Alicante, Spain (until recently the artist’s home). … * Continue reading...
Between old new beginnings and aggregate categories, there’s an enticing idea of breaking things down and putting them together. A scrolled-back, shifty, recombinatory, and flexible form that feels right.[1]—Matt Saunders A painting that exceeds itself begs a profound question: How can one delimit any thing—even that most ostensibly autonomous thing, a painting?[2]—David Joselit I first meet...
What painting needs is hecklers, groupies, buffs, aficionados, nerds, family members and fans.—Justin Paton[1] I met Simon McIntyre some months ago, following a conversation event with artist Amber Wilson at Anna Miles Gallery. It was a short meeting, but I remember being struck by McIntyre’s liveliness and warmth, and the fact that he, like me, grew up in the household of a painter. A few days...
Before arriving at Necessary Distraction: A Painting Show at Auckland Art Gallery Toi o Tāmaki, I am aware of two things. First, that the exhibition comprises work by artists from Aotearoa. Second, that its installation design includes sometimes unclad, sometimes unpainted walls. These, it transpires, are visible even before you enter the exhibition proper. Crossing the threshold, I come to the...