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Hyperallergic: Carter Ratcliff

Something like magnetic attraction joins certain descriptions to certain artists. Thus “gestural painter” attaches to Jonathan Feldschuh with automatic ease. How else would you label a painter whose images are the swerving, skidding traces of a wide brush wielded with virtuosic vitality? Feldschuh is a gestural painter, no doubt, and yet this readymade phrase is laden with implications that can lead us astray. Not every geometric abstractionist in the years between the World Wars was a utopian, like Piet Mondrian, nor do brushy bursts of energy always put personality on display, as they do in the early paintings of Joan Mitchell. When Feldschuh sends his brush careening over the surface, he is reaching for something beyond himself.

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Resonators – 524W26 Gallery

Particles and Colliders

The show Resonators at 524 Gallery in Chelsea provides the first opportunity for me to present works together from two series that deal with high-energy physics. My new series Particles is an investigation into the interactions of subatomic particles inside an accelerator. It follows my Large Hadron Collider series of paintings of the machinery of the largest accelerator in the world, the LHC at CERN. The collider paintings were most recently exhibited at the National Academy of Sciences in Washington, D.C. In the new series, I am attempting to depict the super-small world of high energy collisions, filled with virtual particles, quantum loops, and hadronic jets.

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Artforum: Frances Richard on Jonathan Feldschuh

Jonathan Feldschuh
In “Little Corner of the World,” his first solo show in New York, Jonathan Feldschuh exhibited twelve canvases, varying in size but consistent in their mixture of cartoonish sci-fi and romantic verve. A product of the Harvard physics department, Feldschuh has a nice feel for the fine line between microscopic and cosmic conceptions of space and good instincts for the salutary effect of elegance on silliness (and vice versa).

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