Editor

Molly Warnock  is an art critic and art historian based in Baltimore. The author of Simon Hantaï and the Reserves of Painting (Pennsylvania State University Press, 2020) and Penser la Peinture: Simon Hantaï (Gallimard, 2012), she contributed an essay on Martin Barré’s painting in the years 1972-77 to the catalogue for the painter’s retrospective at the Centre Georges Pompidou. Additional writings have appeared in Artforum, Art in America, Les Cahiers du Musée National d’Art Moderne, Tate Papers, Journal of Contemporary Painting, and on nonsite.org, as well as in numerous European and United States exhibition catalogues. She is a 2020-21 Ailsa Mellon Bruce Visiting Senior Fellow at the Center for Advanced Study in the Visual Arts, Washington.

Contributors

Max Estenger was born in 1963 in Los Angeles, California, and lives and works in Brooklyn. For the past three decades, Estenger has been developing new possibilities for abstraction. Utilizing a rigorous formal language as the driving force, his painted objects are involved in conversation with art history and the various parameters of abstract painting – formal, material, and ideological. His most recent one-person exhibitions were at Norte Maar in Brooklyn (2017) and a mid-career survey at the Museum of Contemporary Art, Tucson, Arizona (2016). Both exhibitions featured fully illustrated catalogues. His work has appeared in the New York Times, Artforum, and FlashArt, among other publications.

Julia Fish (b. Oregon, 1950) lives and works in Chicago. Inclusively and theoretically, her work is both site-generated and context-specific: in temporary projects, and in the sustained sequence of paintings and works on paper developed through close examination of her home and studio, a 1922 brick two-flat storefront. Fish’s work is internationally recognized and exhibited, including 2010, the Whitney Biennial, and is held in the collections of the Art Institute of Chicago, Los Angeles Museum of Contemporary Art and the Museum of Modern Art, New York, among others.  A selected survey of her work from the current decade was presented at DePaul Art Museum, Chicago, 2019-2020.  Fish is professor emerita, University of Illinois at Chicago.

Joe Fyfe is a painter and art critic based in New York where he was born in 1952. Fyfe’s nonrepresentational works allow materials to dictate form and come together on their own, rather than adhere to a preconceived vision. In 1980, he was included in the Times Square Show, organized by Collaborative Projects, Inc., and he has had numerous solo exhibitions in the United States, throughout Europe, and in Vietnam. Equally active as a writer and a curator, he received numerous awards and fellowships, including an Artadia Award, a Guggenheim Fellowship, an Adolph and Esther Gottlieb Award, a Pollock-Krasner Foundation Grant, and The American Academy of Arts and Letters’ Gwendolyn Knight Lawrence Award.

Laura Lisbon is a painter based in Columbus, Ohio. Engaged in rethinking the limits of painting, she makes paintings as well as constructions that she terms “set-ups.” Recent exhibitions include Le paradoxe du diaphane et du mur in Amilly, France (2010) and Gray Matters at the Wexner Center for the Arts (2017). Lisbon also participated in the third and fourth iterations of the collaborative painting project, Impermanent Durations: On Painting and Time (2017, 2019).  She co-curated and co-wrote the catalogue for the exhibition As Painting: Division and Displacement, held at the Wexner Center in 2001. Lisbon has published essays in La Part de L’Œil, Cahiers de l’Agart, and Journal of Contemporary Painting.

Tariku Shiferaw was born in 1983 in Addis Ababa, Ethiopia. Raised in Los Angeles, he presently lives and works in New York City. He explores mark-making in order to address the physical and metaphysical spaces of painting and social structures. Shiferaw’s recent exhibitions include Men of Change, a nationally traveling exhibition with the Smithsonian Institution (2019-2022), and Unbound, at the Zuckerman Museum of Art (2020). Other group shows include the 2017 Whitney Biennial, as part of Occupy Museums; A Poet*hical Wager, at the Museum of Contemporary Art Cleveland (2017); and What’s Love Got to Do With It?, at The Drawing Center (2019); he has had solo exhibitions in London and New York, among other cities.

Cheyney Thompson was born in Baton Rouge, Louisiana, in 1975. His practice centers on an inquiry into the production, distribution, and exhibition of painting. His projects, which often span several years, impose structures and constraints onto the making of his work. These limitations are in turn generative, resulting in exhaustive investigations into the medium of painting and the problems that surround it. Tying his works to mathematical and economic formulas, his own labor as an artist, and the architecture that his paintings occupy, Thompson enacts a tension between their formal qualities and the larger systems of circulation they inhabit. He is represented by Andrew Kreps Gallery, CampoliPresti and Galerie Buchholz.  

© ER Publishing, 2020

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