Friday, April 30, 2010



Excerpts From Conversation Between Ken Price And Brooke Alexander

BA: I’ll tell you what started me on this project–I don’t remember

exactly who told me this, I think it was Henry Hopkins, who said that

on an early visit he saw an Albers print hanging on the studio wall.

KP: Yes, I had one from Tamarind. I had it framed and it was up in my

studio for years. I have a set of Albers silk-screens, which I got

from Irving Blum in the 60’s. There are about ten of them, they’re

wonderful. And I was impressed by the painting the L.A. County

Museum had; a little canvas that was essentially blue, black, and

white… I always thought Albers was the most authentic in terms of

color theories. His was the real theory, because it was based on

practice. He was the guy who really dealt with the colors, and that

was it. And it was a natural thing, color that lives on its own. It

doesn’t need any support from imagery, or art history, or any of

that stuff… It’s like music, it stands by itself.

BA: What attracted you to Mexico and the Southwest?

KP: When I grew up, L.A. had more of a Mexican look and feel to it.

At least I thought so. Maybe I was attracted to brightly colored

stuff, and Mexicans are not afraid of color. When I was young

there was lots of handmade pottery from Mexico around L.A., and

later I got into curio stores in Tijuana, which were filled with

pottery from Oaxaca, Tonala, and other parts of Mexico. And a lot

of it was great. I think that was one of the high moments in folk

pottery. But it was already dying because the potters couldn’t make

a living. And when people learned how much lead was in the glazes,

that really finished it off. In the 70’s with ”Happy’s Curios” I tried to 

make a kind of homage to the Mexican Wares, not to make direct 

copies, but pieces that were in the spirit of the Mexican pottery.

BA: It seems to me this sensibility continues; the recent lava

drawings might be Hawaii, but the high-keyed color strikes

me as tilting toward a Mexican sensibility.

KP: That’s right. The color thing, it’s very intuitive; it’s not some

sort of formula. It’s how they feel, really. That’s why I had an affinity 

with the Mexican artists: it’s (the way they use) color.

BA: Was there a particular thing you were thinking about when you

made the drawing?

KP: If there was, I certainly don’t remember, but it looks like Mexican

linoleum or tiles…

BA: Well, as I got into the relationship between your and Albers’ work,

it occurred to me that there was a kind of parallel thinking coming

from opposite ends. In other words, your Mexican sources were

inexpensive curio shop ceramics and the graphics of clichéd tourist

posters and Albers was coming from his interest in Pre-Columbian

artifacts, and Aztec/Mayan ruins – what we might call the “high”

art side. And, somehow, the forms and colors that both of you derived 

from Mexican culture end up having a certain relationship That,

to me, was very interesting because it comes from polar extremes

of the cultural spectrum.

KP: Right. I probably wouldn’t have said Albers before, but it’s similar.

In this context, it’s obvious.

BA: In a similar way, I saw a relationship between some of your drawings

and prints and a group of Albers’ work called Structural Constellations.

For example these interior scenes that have a city view where, as you 

look at it, the eye is led out the window and back again. To my mind, there

is a similar circular experience in looking at Albers’ Structural


KP: [looking at the catalog] Yes, I like the comparison here…

I remember this scene; this was right out the window in Venice. I

made a lot of these drawings, just looking out the window. I love

that vantage point, of being sort of up, seeing all of L.A. from the

second story.

BA: One thing that we haven’t approached at all is color. And I noticed

these color charts beside the works in progress, and one I counted

has 14 colors. What is your process?

KP: Most of them have 14 colors now. The pieces start off with a grainy

surface. And they get painted with lots of thinly brushed coats of

a sequence of colors. And after they’ve been painted enough they

get sanded so that the surface becomes smooth and marks appear 

from the colors underneath. The more they are sanded the larger

and more connected the marks become. But they’re always different.

The reason for the 14 colors is so if you don’t like the way it looks

you can sand deeper and open up a different color scheme. But you

can’t really control what the marks will do, they just happen.

BA: Do you ever have second thoughts about earlier work in the sense

that when you look at it now, you have a different take on it or

that you remembered it differently?

KP: I’ve been making artworks for over 50 years now and can’t always

remember what I was thinking or feeling in the past. Occasionally I’m

confronted with something I must have made but don’t recognize at

all. And I’m assuming that memories of earlier works are enhanced

or distorted, but I don’t have second thoughts about it, or regrets

if I don’t like it. I’m too involved in what I’m doing now to worry about

it. I’m really enjoying the process of making my new work.

"I Love Warhol Piss Paintings," 2007, Cary Leibowitz

Ellsworth Kelly

"Untitled (Color Radiation from Blue Center)," 1964, Paul Feeley

Untitled, 1966, Anne Truitt

Ted Gahl

Mark Wyse

"Father Figure (Duchamp)," 2009

"Take Me to the Zoo," 2009

Fergus Feehily

Matt Connors

"Green Painting on Standing Sculpture," 2009, Stacy Fisher

Liz Luisada

Untitled, 20098, Graham Anderson

Thursday, April 29, 2010

"Mexican Arts," 1973, Ken Price

"Shot To Hell," 1996, Lawrence Weiner

"Walk" and "City" by Joshua Abelow

"Walk," 2010









"In God We Burst," 2010, Lizzi Bougatsos

Dave Miko

"Complications," 2008

"Strata: marbled beauty and its food," 2008

Stefan Brüggemann

Michael Bauch

Wednesday, April 28, 2010

"Homage to the Square: Zwischen Zwei Blau (Between Two Blues)," 1955, Josef Albers

"Spiral of energy in the quite dark sky of consciousness," 2004, anonymous artist

"4339," 2005, Andrew Masullo

"Untitled," 2008, Kitty Kraus

Mustafa Hulusi




Tuesday, April 27, 2010

Merlin Carpenter

Günther Förg

Hansjoerg Dobliar

Xanti Schawinsky

Friedrich Kunath

Julije Knifer

"Capital A," 2009, Michael Hakimi

Mai-Thu Perret

Louise Nevelson

Untitled, 1976-1978

"Night Flower One," 1958

Untitled, 1976-1978

Matthias Dornfeld

Monday, April 26, 2010

Charles Bukowski: one step removed

one step removed

I knew a lady who once lived with Hemingway.
I knew a lady who claimed to have screwed Ezra Pound.
Satre invited me to visit him in Paris but I was too stupid to
Caresse Crosby of Black Sun Press wrote me from Italy.
Henry Miller's son wrote that I was a better writer than his
I drank wine with John Fante.
but none of this matters at all except in a romantic sort of
some day they'll be talking about me:
"Chinaski wrote me a letter."
"I saw Chinaski at the racetrack."
"I watched Chinaski wash his car."
all absolute nonsense.
meanwhile, some wild-eyed young man
alone and unknown in a room
will be writing things that will make you forget
everybody else
except maybe the young man to
follow after

"Portrait No. 18," 2010, Luke Rudolf

Ida Ekblad

"Rail," 2010, Gianna Commito

"Exit Light"

Thursday, April 22, 2010


"Desert Mind," 2009, Jaime Gecker

"Two Tramps in Mud Time," 2007, Matthew Lusk




Anti-Anti / Non-Non

April 30 – May 22 / May 27th – June 26

Opening Reception: Thursday, April 29th, 6-9pm

New York, NY “Anti-Anti / Non-Non” is inspired by Ad Reinhardt’s

playful poem “On Negation” which explores how one can define the

inconceivable through a series of subtractions, ultimately reducing

what [it] is through what [it] is NOT. Fifty-some years after Ad

Reinhardt made the “last paintings” artists find themselves in an age

of pluralism where anything goes. This two-part exhibition explores

the work of contemporary artists who re- shape our vision of what art

is and can become.

Part one of the exhibition, “Anti-Anti”, features artists making work

within a formalist framework based on grid, pattern or repetition.

Whether they appear as visual traps, social critique or musings on the

natural world, the works in this show reveal the ageless power of

pattern. Douglas Melini’s mind-bending pattern paintings fold and

expand in a kaleidoscope of bilateral symmetry; Stacy Fisher uses

pattern to tame her amorphous, brightly colored sculptures, and Jack

Featherly drizzles and blends ribbons of enamel into a loose,

spontaneous grid. Works by Joshua Abelow, Gianna Commito,

Jack Featherly, Stacy Fisher, Jaime Gecker, Matthew Lusk,

Douglas Melini, Bryan Osburn, Sarah Shirley, Ellen Sayers and

Keith J. Varadi are included.

The second part of the exhibition, "Non-Non," presents artists whose

work appears carefree and exploratory, more concerned with material

innovation than control. The artists force us to contend with the

material application and presentation of their work. Artists will include

James Hyde, JR Larson, Jeffrey Scott Mathews, Saira McLaren and

Tracy Thomason. Details to be announced.

Although the outward appearances of works in each show are visibly

different - and delivered by a range of motivations - there is a binding

force connecting the artists. “Anti-Anti” and “Non-Non” present work

that is anti-descriptive, anti-heroic, non-schematic, non-sense and

anti-craft. Not easily read, non-abrasive and non-non-abrasive.

For more information or to schedule a viewing, please contact or 917-370-5421.


90 West Broadway at Chambers Street

Tribeca / New York 10007

Ph 212 732 6196 Fax 212 406 1675

Visit us Friday & Saturday 2 – 6

or by appointment

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