Robert Enright

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  Divided Pathways: Painting’s Choice

  McIntosh is a highly intelligent painter whose predisposition is to be on the lookout for new ways of using colour and form. “I never want to fully know what I am going to have at the end because then I wouldn’t need to make the painting.” She is especially interested in a wilfully induced pictorial alienation in which what she sees is what she hasn’t seen before.

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  The Synonym Revealer’s Life

  There is a playful sense of menace in Farber’s work. One blog entry includes a list of “Songs improved by replacing the word love with the word blood,” and among them is “Blood Me Tender,” a tune that reimagines Elvis Presley as a crooning vampire. The imminence of something that approximates tender bloodletting, and other kinds of chaos, is everywhere visible in Farber’s paintings and drawings. These activities are more genial than gruesome. Things forever teeter on the edge of some anticipated occurrence, the conditions and consequences of which are not immediately apparent.

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  Too Little and Too Much, All the Time

  “You are aware of the fact that you are looking at something that you cannot describe: that you can only understand or not understand. So you are arriving at a knowledge that cannot be translated into words.”

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  Drawing the Dance of the Unfinished Story

  June Leaf

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  Doing Just the Right Wrong Thing

  Tom Sachs

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  Beyond Redemption

  Burroughs: the movie

• Painting’s Giant Dialogue

  Kim Dorland

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  Plane Talk

  Eli Bornstein

• The Perfection of the Tree and Other Material Concerns

  Giuseppe Penone

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  One Hour in the Day of The Clock

  One hour in the day of The Clock

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  Double Talk: Eric Fischl

  “Eric Fischl: the Process of Painting”, directed by Edgar Howard and “Bad Boy: My Life on and Off the Canvas” by Eric Fischl

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  Imperfect Perfections

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