Anne Russinof

Anne Russinof, Pearly Frame, 2015, Oil on canvas, Color Field, Abstraction

2018

Russinof uses large brushes to create highly energized gestures that intimate various patterns and forms in architecture such as frames, cornices and baroque ceiling vaults. The paint-ings are process-based in the sense that one is aware of drips and the accretion of layers, and also flirt with their role as objects by virtue of the gesture’s relation to the painting edge. Color serves to create a window onto natural space and light, even as the forms themselves acknowledge their own framing. She often thinks in these works of Renaissance portraits where the sitter’s forearm rests on the very edge of the frame, inviting intimacy, with a tiny landscape...

Russinof uses large brushes to create highly energized gestures that intimate various patterns and forms in architecture such as frames, cornices and baroque ceiling vaults. The paint-ings are process-based in the sense that one is aware of drips and the accretion of layers, and also flirt with their role as objects by virtue of the gesture’s relation to the painting edge. Color serves to create a window onto natural space and light, even as the forms themselves acknowledge their own framing. She often thinks in these works of Renaissance portraits where the sitter’s forearm rests on the very edge of the frame, inviting intimacy, with a tiny landscape...

Russinof uses large brushes to create highly energized gestures that intimate various patterns and forms in architecture such as frames, cornices and baroque ceiling vaults. The paint-ings are process-based in the sense that one is aware of drips and the accretion of layers, and also flirt with their role as objects by virtue of the gesture’s relation to the painting edge. Color serves to create a window onto natural space and light, even as the forms themselves acknowledge their own framing. She often thinks in these works of Renaissance portraits where the sitter’s forearm rests on the very edge of the frame, inviting intimacy, with a tiny landscape...

Emily Berger’s paintings are based on a structure of repetitive and deliberate gesture that is intuitive but carefully considered. She brushes, wipes, rubs, and scrapes, incorporatin...

Emily Berger’s paintings are based on a structure of repetitive and deliberate gesture that is intuitive but carefully considered. She brushes, wipes, rubs, and scrapes, incorporatin...

Emily Berger’s paintings are based on a structure of repetitive and deliberate gesture that is intuitive but carefully considered. She brushes, wipes, rubs, and scrapes, incorporatin...

oil and wax on gessoed linen Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts and Crafts. After high school she att...

oil on linen Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts and Crafts. After high school she attended the, now, Sa...

oil and wax on linen Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts and Crafts. After high school she attended the,...

oil and wax on linen Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts and Crafts. After high school she attended the...

oil and wax on linen Mala Breuer grew up attending classes in painting and drawing from a young age at the California College of Arts and Crafts. After high school she attended the,...

oil and acrylic on linen over panel In his abstract paintings and prints, Daniel Brice explores both the physicality and the intellectual and emotional resonance of color. Based in...