Editor

Molly Warnock is an art critic and art historian based in Baltimore. A specialist in modern and contemporary art, she has written extensively on James Bishopʼs paintings on paper and canvas and is currently completing a comprehensive book on his oeuvre. The author of Simon Hantaï and the
Reserves of Painting
(Pennsylvania State University Press, 2020) and Penser la Peinture: Simon Hantaï
(Gallimard, 2012), she has also published articles on diverse topics in, among other journals, Artforum,
Art in America, Les Cahiers du Musée National dʼArt Moderne, Tate Papers, nonsite, and Journal of Contemporary Painting, as well as in numerous European and US exhibition catalogues. She is a 2021-22 NOMIS Fellow at eikones—Zentrum für die Theorie und Geschichte des Bildes, Universität Basel, and a member of the Board of Directors of the Tephra Institute for Contemporary Art in Reston, Virginia.

Contributors

Pierre Buraglio was born in 1939 in Charenton-le-Pont. He now lives and works in Maisons-Alfort.
A graduate of the École Nationale Supérieure des Beaux-Arts in Paris, he also taught there from 1987 to 1997. A social activist, he put his painting on hold from 1969 to 1973 to work in a factory. Like some of his contemporaries in the Supports/Surfaces and BMPT movements, he has challenged the very act of painting, and his commitment over the decades has been resolutely pictorial. Transcending the abstraction/figuration dichotomy, his work questions the relationship between painting and image. The Musée dʼArt Moderne et Contemporain in Saint-Étienne devoted a major retrospective to him in 2019. Pierre Buraglio is represented by the galleries Ceysson & Bénétière, Jean Fournier, and Catherine Putman.

Sharon Butler (b. 1959, New London, Connecticut), an American artist and arts writer, is widely known as the founder of Two Coats of Paint, a project that includes an influential art blog, an artist residency, and other initiatives. Her abstract paintings, based on daily drawings made in a phone app, are engaged with accident, uncertainty, imperfection, and incompleteness. She has shown work at Theodore:Art Gallery, New York (2016, 2018, 2021) and SEASON, Seattle (2012, 2016, 2017). Butler has received support from the Pollock-Krasner Foundation (1991), Connecticut State University Research Funding (2002, 2006), the Connecticut Commission on the Arts (2008), and the Andy Warhol Foundation Arts Writers Grant (2013, 2016).

Harriet Korman (b. 1947, Bridgeport, Connecticut) is an abstract painter based in New York. The recipient of numerous awards—including the John Simon Guggenheim Memorial Foundation
Fellowship in Painting and grants from the Pollock-Krasner Foundation, National Endowment
for the Arts and New York Foundation for the Arts — Korman creates dynamic compositions characterized by their deliberate simplicity of means and purity of color. Works by Korman are included
in the collections of many institutions in Europe and the United States, including The Solomon R. Guggenheim Museum, New York; Weatherspoon Art Museum, Greensboro; Blanton Museum of Art, Austin; The Kienzle Art Foundation, Berlin; Museum für Moderne Kunst, Frankfurt am Main; and Kunstmuseum Liechtenstein, Vaduz. From 1992-2019, she was represented by Lennon, Weinberg Gallery, in New York, and now by Thomas Erben Gallery, New York.

Paul Pagk was born in England in 1962 and grew up in England, Austria, and France; he studied at the École Nationale Supérieure des Beaux-Arts in Paris, and has lived and worked in New York since 1988. Known for his sensorial abstract oil paintings and works on paper, Pagk seeks to articulate the notions of time and space through pictorial constructs and a simplified vocabulary. The merging of form, color, and line invite beholders to immerse themselves into the picture plane. Although he is considered a quintessential New York artist, his work still maintains a European sensitivity. In 2021-22, his works are the subject of two exhibitions in France, at the Fondation Fernet Branca, Saint-Louis and the Centre dʼArts Plastiques, Royan. He is represented by Galerie Éric Dupont, Paris.

David Reed (b. San Diego, 1946) lives in New York City. His paintings develop from an obsession with how we see and a deep interest in European and American paintings, ranging from the Italian Renaissance and the European Baroque to abstract expressionism, pop art, and minimalism. To make his paintings, he combines techniques and concepts used in older traditions of figure painting with new expressive and philosophical questions made possible by abstraction. In order to test our perceptions, Reedʼs paintings combine disparate elements: For example, hand-painted brush and knife marks appear alongside images of such marks painted using computer generated, laser-cut stencils based on digitally processed scans. His most recent solo exhibitions include shows at Gagosian Gallery, NY (2020 and 2017); Neues Museum Nürnberg, Germany (2019); Kunstmuseum Winterthur, Switzerland (2018); Pérez Art Museum, Miami, Florida (2016); Museum Haus Lange, Krefeld, Germany (2015).

Dorothea Rockburne (b. 1932, Montreal) lives and works in New York. She studied at the École des Beaux-Arts de Montréal, the Montreal Museum School, and at Black Mountain College, where she met the mathematician Max Dehn, whose tutelage in concepts including harmonic intervals, topology, and set theory have been deeply generative for her art practice. After moving to New York in 1954, she became involved with the nascent Judson Dance Theater, and later participated in Carolee Schneemannʼs Meat Joy (1964), among other notable performances. In the late ʼ60s, Rockburne began exhibiting paintings made with industrial materials and creating drawings from crude oil and graphite applied to paper and chipboard. Later phases of Rockburneʼs painting practice have drawn on ancient systems of proportion as well as astronomical phenomena. Her work has been featured in two solo exhibitions at the MoMA, New York (1981 and 2013–14); the Parrish Art Museum, Southampton (2011); Museum of Fine Arts,
Montréal (2011); and at Dia : Beacon (2018–21).

Richard Tuttle (b. 1941, Rahway, New Jersey) lives and works in New York City; Abiquiú, New Mexico; and Mount Desert, Maine. Engaging aspects of painting, drawing, sculpture, bookmaking, printmaking, and installation, Tuttle has revolutionized the landscape of contemporary art, challenging rules and notions of genre and media. His work is characterized by its command of space and its ability to articulate a poetics of materiality through a vernacular of modesty and idiosyncrasy. Since Tuttleʼs first exhibition at Betty Parsons Gallery in 1965, his work has been the subject of over two hundred solo exhibitions internationally, and numerous monographic books. In 2020, Walther König published Richard Tuttle: A Fair Sampling–Collected Writings 1966-2019, edited by Dieter Schwarz. Tuttle is represented by Pace Gallery, New York; Annemarie Verna Galerie, Zurich; Modern Art, London; David Kordansky Gallery, Los Angeles; Galerie Christian Lethert, Cologne; and Galerie Greta Meert, Brussels.

Paul Wallach (b. New York City, 1960) studied at the University of Wisconsin-Madison and Boston
Universityʼs Program in Artisanry. He worked as Mark di Suveroʼs studio assistant for three years before moving to Düsseldorf and then Paris in the early ʼ90s. His abstract sculptures, often wall mounted, are comprised of heterogeneous materials such as wood, plaster, steel, paint, paper and canvas. They emerge from a dynamic point on the wall and precariously extend into their spatial surroundings as if suspended, becoming three-dimensional drawings that generate space. Wallachʼs one-person exhibitions in public
institutions include shows at the Domaine de Kerguéhennec, Bignan (2015); Musée dʼArt Moderne
et Contemporain, Saint-Étienne Métropole (2014); Gemeentemuseum, The Hague (2002) and the Folkwang Museum, Essen (1995). He is represented by Galerie Jeanne Bucher Jaeger Paris and Bastian Gallery, Berlin and London. He lives and works in Paris.