Amy Sillman, Landline (Installation View), via Camden Arts Cenre

Perhaps one of the most distinctive voices in contemporary American painting, artist Amy Sillman has relentlessly and repeatedly pushed her own style towards the furthest reaches of her capacity, always in an attempt to interrogate and re-evaluate the language and practice of painting against the backdrop of modern history and the attendant shifts from analog to digital technologies and labor processes.  Based in New York, the artist has opened her first major solo institutional show in the UK this fall, an ambitious and expansive walk through her work at the Camden Arts Centre in North London.   (more…)

Carroll Dunham, Mound A (1991-1992), via Art Observed

Flexing his curatorial muscle at both Skarstedt Gallery locations in New York, David Salle has compiled an intriguing collection of recent paintings by a vastly diverse group of artists, and examines their shared interests in the grounds of abstract painting: formal concerns of size, scale and focus, in combination with the compositional elements of color, contrast and hue. (more…)

Sofia Leiby, An excuse is a polite rejection (after JW) (2014), via Anonymous Gallery

There’s a telling line in the press release for The Negative Hand, a presentation of new works at Mexico City’s Anonymous Gallery, reflecting on the cave paintings as Lascaux: “by defining themselves, artists often define the systems around them as well, and inversely, by defining the systems around them, artist begin to define themselves.”  It’s an open-ended prompt, but one that feels particularly resonant in 2015: embracing the aesthetic fusions and detritus of modernity as equally worthy of examination and re-creation as any singular subject. (more…)