Instructors at Large

Words about Ronnie Landfield

  • April 22, 2014

Ronnie Landfield, The Deluge, 1998.

Ronnie Landfield, The Deluge, 1998.

Writing in the current issue of Frieze, William Corwin credits curator Phong Bui in “transforming an unruly mob of more than 300 artists into a comprehensive slice of activity in early 21st-century New York” in last year’s exhibition Come Together: Surviving Sandy, Year 1. “The exhibition’s organization, a contorted web of networks and relationships,” Corwin writes, “became an anthropological assessment of the inner workings of an art scene, offering an intriguing glimpse into the lives and practices of New York artists.” Ronnie Landfield’s Deluge (1998) was among the works exhibited at the 100,000 foot exhibition at Industry City (Sunset Park, Brooklyn)Read more of the review.

Ronnie Landfield, After the Deluge, 2001.

Ronnie Landfield, After the Deluge, 2001.

The Possibilities of Paper

  • April 18, 2014

Aunt Helen's Doll - I, 2008 Silverpoint, 21 x25, 2008

Sherry Camhy, Aunt Helen’s Doll—I, 2008. Silverpoint, 25 x 21 in.

Mark(ing) Time: Works on Paper Invitational consists of artwork by artists who work strictly on paper. Its aim is to explore the traditional and contemporary ideas of what constitutes drawing and printmaking. At the Dishman Art Museum (Beaumont, TX), where the exhibition opens on May 23, one can expect to see a full range of possibilities: from drawings by artists who work classically with graphite on paper to artists who expand the definition of working on paper to create entire installations. Sherry Camhy’s silverpoint Aunt Helen’s Doll—I is one of the show’s many wonders. Opening reception: May 23, 6:30—8:30 p.m. The show continues through July 12, 2014.

Max Ginsburg in Florence

  • April 17, 2014


Max Ginsburg will lecture about the development of his recent multifigure paintings and lead a two-day demo workshop at the Florence Academy of Art, May 23–25.


Max Ginsburg, War Pieta, 2007. Oil on canvas, 50 x 60 in.

His solo show, Max Ginsburg: The Realities of Our Times, continues through May 24 at ArtRage Gallery, in Syracuse, NY. Fine Art Connoisseur posted an overview of the exhibition, “Max Ginsburg’s Impassioned Social Realism,” which offers a glimpse of several works from the show. Ginsburg spoke with the host of “The Forum,” a program on the university’s radio station, Z89 FM, about the exhibit. “I feel that art should represent an artist’s deepest feelings and thinking about his place, his society, what moves him.” The hour-long conversation is available to listen to online.

Words About Peter Reginato

  • April 16, 2014

Peter Reginato, WTF, 2011. Stainless steel and enamel, 47 x 48 x 35 in.

Peter Reginato, WTF, 2011. Stainless steel and enamel, 47 x 48 x 35 in.

“A bewildering but satisfying mix of tightly curved and woven-together thin steel rods” is how art critic and blogger Piri Halasz describes the six sculptures Peter Reginato exhibited—along with six small works on paper—at his recent solo show at Andre Zarre Gallery. Read more of the review, “From Thick to Thin, Etc.,” on her blog, (An Appropriate Distance) From the Mayor’s Doorstep.

Jerry Weiss’s Landscape Workshop

  • April 15, 2014

Jerry Weiss, October Afternoon, 2012. Oil on canvas, 30 x 40 in.

Jerry Weiss, October Afternoon, 2012. Oil on canvas, 30 x 40 in.

Jerry Weiss will be teaching a two-day workshop, “Plein Air Landscape Painting Simplified,” at the Lyme Art Association on May 31 and June 1, 2014.

    Why does one paint or sculpt? It’s the need to dominate things, and one can only dominate by understanding. — Alberto Giacometti