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A few years ago, a painted black gallery wall appeared on my computer screen and I became a forever fan of the lady behind the idea: Alaina Kaczmarski (also known as the co-founder and editor of The Everygirl) who I'm happy to now call a friend.

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I love the idea that these remarkable and lasting works of art were done by unschooled young artists who were basically inventing the art of painting — just as the caves were the first art galleries!

I'm not sure where some artists get the idea that a gallery owner or art dealer can enable the artist to do nothing but luxuriate in their studio all day, painting and looking artsy — but even gallery owner Laureen Marchand told me that artists still need to do some work.

am a 70 some artist who rarely sold anything, despite years of being online... for one, I paint with pen and ink, and do not put out anywhere enough for galleries to want to bother with, plus my work is realistic tho from my head... also, I work from themes, visualizing metaphoric ideas, so they're not the usual still life or landscapes..

Consistently in love with landscape — and the idea of landscape as an abstraction — Wolf Kahn has lovingly built a very vivid and beautiful oeuvre since first exhibiting his paintings at the Hansa Gallery, one of New York's first co-op galleries, nearly sixty years ago.

Collection, Museum of Art, Fort Lauderdaie, FL; travelled to Oklahoma Museum of Art, Oklahoma City, OK; Santa Barbara Museum of Art, Santa Barbara, CA; Grand Rapids Art Museum, Grand Rapids, MI; Madison Art Center, Madison, WI; Montgomery Museum of Fine Arts, Montgomery, AL 1981 Drawing Invitational, Harm Bouckaert Gallery, New York, NY 1981 New Work, Roy Boyd Gallery, Chicago, IL 1981 Artists Books, Metrònom, Barcelona, Spain 1980 Little Books, Franklin Furnace, New York, NY 1980 New York 1980, Banco - Massimo Minini, Brescia, ltaly 1980 Pool Project Documentation, Artists Space, New York, NY 1980 New York Painters, University of Rochester, Rochester, NY 1980 Works of Art, Patricia Sneed Gallery, Rockford, IL 1980 Group Show, Roy Boyd Gallery, Chicago, IL 1980 Collection of Dr. Milton Brutten and Dr. Helen Herrick, Ben Shahn Gallery, William Patterson College, Wayne, NJ 1980 Group Exhibition, Susan Caldwell, Inc., New York, NY 1980 Pool Projects, Wake Forest University, Winston - Salem, NC 1980 Faculty Exhibition, Hillwood Commons Gallery, C.W. Post College, Greenvale, NY 1979 Prospectus, Aldrich Museum, Ridgefield, CT 1979 New Wave Painting, The Clocktower, MoMA P.S. 1, New York, NY 1979 Artist's Postcards, Ananas Gallery, Abrau, Switzerland 1979 Poets and Painters, The Denver Art Museum, Denver, CO; traveled to Atkins Museum of Fine Art, Kansas City, MO; La Jolla Art Museum, La Jolla, CA 1979 14 Painters, Lehman Gallery, CUNY, Bronx, NY 1979 Drawings, Hal Bromm, New York, NY 1979 Summer Show, Hal Bromm, New York, NY 1979 Drawings, Pyramid Gallery, Providence, MA 1978 Detective Show, Gorman Park, Jackson Heights, NY 1978 Works on Paper, Studio La Citta, Verona, Italy 1978 Group Exhibition, Arte Fiera, Bologna, Italy 1978 Group Exhibition, Art - 9, Basel, Switzerland 1978 Black and White on Paper, Nobe Gallery, New York, NY 1978 Paperworks, Galerie Wirz, Milan, Italy 1978 Selections from the Collection, Aldrich Museum, Ridgefield, CT 1978 Artists Books: USA, New Gallery, Cleveland, OH 1977 Fine / Fleishman / Stamm, Franklin Furnace, New York, NY 1977 Painting 75,76,77, Sarah Lawrence College, Bronxville, NY; traveled to American Foundation for the Arts, Miami, FL; Contemporary Arts Center, Cincinnati, OH 1977 Book Objects, Albright - Knox Art Gallery, Buffalo, NY 1977 A Painting Show, MoMA P.S. 1, Long Island City, NY 1977 New York Group Show, Galerie Denise Rene, New York, NY 1977 Group Exhibition, Art Fiera, Bologna, ltaly 1977 Group Exhibition, Documenta - 6, Kassel, Germany 1977 Collection in Progress, Moore College of Art, Philadelphia, PA 1977 Ideas — Images, Eugenia Cucalon Gallery, New York, NY 1977 Postcards and Other Mail, Jock Truman, New York, NY 1977 Wrapping Paper Invitational, Nobe Gallery, New York, NY 1977 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1976 Group Exhibition, Art Fiera, Bologna, Italy 1976 Summer Group, Max Protetch Gallery, Washington D.C. 1976 SoHo and Downtown Manhattan, Akademie Der Kunste, Berlin, Germany 1976 Selections SoHo - Berlin, Louisiana Museum, Humlebaek, Denmark 1976 Works on Paper, Hal Bromm, New York, NY 1976 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1975 Contemporary Reflections 1971 — 1974, AFA; travelling exhibition Spare, Central Hall Gallery, Port Washington, NY 1975 Group Indiscriminate, 112 Greene Street, New York, NY 1975 A Collection in Progress (Herrick - Brutten Collection), The Clocktower, MoMA P.S. 1, New York, NY 1975 Group Exhibition, International Art Fair, Cologne, Germany 1975 Five from SoHo, Rose Art Museum, Waltham, MA 1975 Spare, Central Hall Gallery, Port Washington, NY 1975 Abstraction Alive and Well, SUNY, Potsdam, NY 1975 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1974 Tight and Loose, State University, Albany, NY; travelled to State University, Potsdam, NY 1974 Black as Color, Reed College, Portland, OR 1974 Drawings, Albright - Knox Art Gallery, Buffalo, NY 1974 Paperworks, Rosa Esman Gallery, New York, NY 1974 10th Anniversary Exhibition 1964 — 1974, Aldrich Museum, Ridgefield, CT 1974 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1973 Painting in America, Decorative Arts Center, New York, NY 1973 Black Paintings, Nancy Hoffman Gallery, New York, NY 1973 DiDonna / Stamm, O.K. Harris Gallery, New York, NY 1973 Nine New York Artists, Hartwick College, Oneonta, NY 1973 Recent Acquisitions, Phoenix Museum, Phoenix, AZ 1972 Contemporary Reflections 1971 — 1972, Aldrich Museum, Ridgefield, CT 1971 What's Happening in SoHo, University of Maryland, College Park, MD 1971 Faculty Show, Brooklyn Museum Art School, Brooklyn, NY 1971 Alumni Show, Hofstra University, Hempstead, NY 1970 Young Artists: New York 1970, Greenwich, CT

It was a moment when de Kooning turned to what he called the tableaux: «forcefully composed paintings with ideas of less frontal or variously posed figures in a well defined landscape space» (J. Cowart, «De Kooning Today,» de Kooning 1969 — 78, Gallery of Art, University of Northern Iowa, 1978, p. 15).

«Borrowed» Art Gets Show — For «Thanks,» his new group show at Lu Magnus Gallery about the ways in which artists crib ideas and inspiration from each other, artist and curator Adam Parker Smith used unusual means to acquire works for the exhibition: he stole them, surreptitiously absconding with everything from paintings to personal articles during studio visits with other artists (he plans to return them after the show).

Revisiting an idea he first employed in his late - seventies project «128 Photographs of a Painting», he divided the work's surface into two vertical sections, then halved those halves, and so on, he had each work printed to his desired scale, so that we might contemplate what have become remarkable horizontal, rhythmic fields of fine lines, oscillating with vibrations of color, the largest of which stretches over ten meters, as seen on the gallery's first floor.

Minimalism also fought Greenberg's orthodoxy at the same time as conceptual art — by rejecting the Modernist idea of painting and instead working with industrial materials — but contained the dialogue within the gallery system.

Call me only if you are in the gutter, Grice Bench, Los Angeles, CA Exalted Position, curated by Vlad Smolkin, Peter Blum Gallery, New York, NY Pipe Dream, presented by Night Gallery and Rachel Uffner Gallery, 170 Suffolk Street New York, NY Gallery Artist Group Show, Rachel Uffner Gallery, New York, NY TDW: Three Way Weekend, Blum & Poe, Art Los Angeles Contemporary, and ROGERS, Los Angeles, CA 2015 The John Riepenhoff Experience, Misako & Rosen, Tokyo, Japan Intimacy in Discourse: Unreasonable Sized Paintings, School of Visual Arts Chelsea Gallery, New York, NY Let's Be Real, Projekt 722, New York, NY 2014 The Crystal Palace, Rachel Uffner Gallery, New York, NY QUALIA, FJORD Gallery, Philadelphia, PA 2013 The Room and its Inhabitants, organized by Patrick Howlett, Susan Hobbs Gallery, Toronto, Canada The 2013 deCordova Biennial (with Dushko Petrovich), deCordova Sculpture Park and Museum, Lincoln, MA 2012 Love, curated by Stephen Truax, One River Gallery, Engelwood, NJ Art on Paper 2012, curated by Xandra Eden, Weatherspoon Art Museum, Greensboro, NC Take Shelter in the World, curated by Dushko Petrovich, Boston University Art Gallery, Boston, MA In Plain Sight, organized by Nicole Russo and Lumi Tan, Mitchell - Innes & Nash, New York, NY 2011 The Idea of the Thing That it Isn't, curated by Rachel Uffner, Halsey McKay, East Hampton, NY Channel to the New Image, Friedrich Petzel Gallery, New York, NY Exhibition of Work by Newly Elected Members and Recipients of Honors and Awards, American Academy of Arts and Letters, New York, NY Paper A-Z, Sue Scott Gallery, New York, NY Invitational Exhibition of Visual Arts, American Academy of Arts and Letters, New York, NY Battle of the Brush, organized by Corporate Art Solutions at Bryant Park, New York, NY 2010 The Pencil Show, Foxy Production, New York, NY ITEM, Mitchell - Innes & Nash, New York, NY S (l) umm (er) ing on Madison Avenue, curated by Jo - ey Tang, The Notary Public, New York, NY Kristin Calabrese, Andy Parker, Mary Weatherford, Roger White, Kathryn Brennan Gallery, Los Angeles, CA 2009 What's Bin Did and What's Bin Hid», curated by Ryan Steadman, 106 Green Gallery, Brooklyn, NY Cave Painting: Installment # 2, organized by Bob Nickas, Gresham's Ghost, New York, NY The Audio Show, organized by Seth Kelly, Friedrich Petzel Gallery, New York, NY 2008 The Merits of Silence, Gallery Min Min, Tokyo 2007 Heralds of Creative Anachronism, D'Amelio Terras, New York, NY The Price of Nothing, EFA Gallery, NY 2006 Mystic River, Southfirst, Brooklyn, NY / Arcadia University, Glenside, PA 2005 Kevin Bruk Gallery, Miami, FL You Are Here, Ballroom Marfa, Marfa, TX The Most Splendid Apocalypse, PPOW Gallery, New York, NY Crits» Pix, Black and White Gallery, Brooklyn, NY 2004 Halloween Horror Films,, Southfirst Gallery, Brooklyn NY Summery Summary, 58 N3, Brooklyn, NY 2003 Dreamy, ZieherSmith Gallery, New York, NY Escape from New York, New Jersey Center for Visual Arts, Summit, NJ Late to Work Everyday, Dupreau Gallery, Chicago, IL 2001 Learnedamerica, P.P.O.W. Gallery, New York, NY Tirana Bienalle 1, National Gallery, Tirana, Albania 2000 Columbia University M.F.A. Thesis Show, Brooklyn, NY 1999 All Terrain, Friedrich Petzel Gallery, New York, NY Wight Biennial, UCLA Wight Gallery, Los Angeles, CA 1998 Episode 1, Gair Building, Brooklyn, NY

My idea was to overwhelm the gallery with a series of strong paintings that are a continuation of what I've been doing, except that I've moved it to another place.

CB: Well, Michele Maccarone and I have been friends with Jim for some time, and he had this idea to do a small paintings show at Michelle's gallery.

Some Kabinett galleries have opted for the historical approach: Kukje Gallery / Tina Kim Gallery will present Dansaekhwa artist Kwon Young - Woo's avant - garde paintings; Japanese gallery Nanzuka will feature Keiichi Tanaami's 1970s collages, drawings and illustrations on a screen projector; Galerie Gmurzynska will host «Christo: The Essential Ideas,» with «extremely rare works» from the Bulgarian artist dating back as far as theGallery / Tina Kim Gallery will present Dansaekhwa artist Kwon Young - Woo's avant - garde paintings; Japanese gallery Nanzuka will feature Keiichi Tanaami's 1970s collages, drawings and illustrations on a screen projector; Galerie Gmurzynska will host «Christo: The Essential Ideas,» with «extremely rare works» from the Bulgarian artist dating back as far as theGallery will present Dansaekhwa artist Kwon Young - Woo's avant - garde paintings; Japanese gallery Nanzuka will feature Keiichi Tanaami's 1970s collages, drawings and illustrations on a screen projector; Galerie Gmurzynska will host «Christo: The Essential Ideas,» with «extremely rare works» from the Bulgarian artist dating back as far as thegallery Nanzuka will feature Keiichi Tanaami's 1970s collages, drawings and illustrations on a screen projector; Galerie Gmurzynska will host «Christo: The Essential Ideas,» with «extremely rare works» from the Bulgarian artist dating back as far as the 1960s.

Opening: «Tauba Auerbach: Projective Instrument» at Paula Cooper Gallery A conceptual artist who mixes process abstraction with philosophical ideas across a variety of media, Tauba Auerbach returns to the Paula Cooper for her second solo show featuring new paintings, sculptures and a special project in the gallery's booGallery A conceptual artist who mixes process abstraction with philosophical ideas across a variety of media, Tauba Auerbach returns to the Paula Cooper for her second solo show featuring new paintings, sculptures and a special project in the gallery's boogallery's bookstore.

For The Relics, her first exhibition in the United States at James Cohan Gallery in June 2013, Zhiying expanded upon these ideas debuting large - scale paintings of decorative and religious relief carvings and intimate portraits of antique vessels that illuminate the spirit of the imagery that has endured for hundreds of years.

The flat, flashbulb - lit paintings of Richard Phillips have always seemed more destined for magazine (or album) covers than for the gallery setting — in fact, they often make their way into glossies like Elle, Visionaire, and Vogue China — but beneath the shallow surfaces of his celebrity portrayals lurk a troubled consciousness musing on ideas of ephemerality, objectification, and the high cost of cheap fame.

As the viewer moved from gallery to gallery, they were presented with a series of paintings and sculptures that aggressively challenge the very idea of portraiture, from Marsden Hartley's One Portrait of One Woman (the woman being Gertrude Stein, whose work was referenced multiple times in the show) to Glenn Ligon's moving and disturbing Runaway series from 1993 that juxtaposes images of runaway slaves with descriptions of Ligon written by his friends and colleagues.

(Though I still think the idea of stretching the mandate that no other artist's work be shown in the Clyfford Still Museum by showing the threads between Still and Van Gogh in images accessible via iPad, rather than physical Van Gogh paintings sharing the galleries, doesn't work.)

His independent passion and fierce commitment to his ideas and practice are evident in his powerful paintings, and his singular work garnered him shows at the Betty Parsons Gallery in New York City alongside Jackson Pollock, Clyfford Still, Barnett Newman and Mark Rothko.

The current exhibition at Mazzoleni's London gallery, Colour in Contextual Play: An Installation by Joseph Kosuth, is the latest of Kosuth's plays within plays, displaying monochrome paintings by Enrico Castellani, Lucio Fontana, Piero Manzoni and Yves Klein alongside dictionary definitions from Kosuth's 1968 Art as Idea as Idea series.

His works are balanced between the painterly and the conceptual; in the catalog for his 2014 exhibition Stacking Stones at Gallery 16 in San Francisco, Sprecher wrote: «When I work I want to create paintings that surprise, paintings that can hold competing ideas but not contain them.»

The Glass House was the start of Johnson's 50 - year odyssey of architectural experimentation in forms, materials, and ideas, through the addition of other structures - the Brick House / Guest House, Pond Pavilion, Painting Gallery, Sculpture Gallery, Ghost House, Library / Study, and Da Monsta — and the methodical sculpting of the surrounding landscape.

Dramatically presenting the concept to visitors after entering the gallery, the exhibition continues the thematic idea by weaving fine art photography with art mediums of paintings, drawings and more throughout the show.

A new group of paintings will be presented in the main gallery, all of which revolve around ideas of meaninglessness and the absurd.

This effect was one of the initial ideas for the painting, as shown in a little sketch that gallery director Chester Murray has juxtaposed with the painting, a curatorial invitation to visually ping pong between finished work and study.

Having just returned from abroad and immersed himself in the New York art scene, he found himself in a cauldron of ideas about action, process, concept, and nothingness, navigating an artistic landscape that was being redefined through influences such as Cage's intellectual Zen advances, Rosenberg's painting as an action, the Janis Gallery Dada show, and the Stable Gallery exhibition of his very own White Paintings.

Martinec's paintings and drawings explore ideas about time, history, reality and spirituality, often appropriating imagery from vintage photographs and the Old Masters, and these new works have been developed in response to an invitation from the National Gallery in Prague to respond to the museum's Baroque collection.

KATIE BURKE WAS VISITING Michael Rosenfeld Gallery in New York when she saw a major painting by Eldzier Cortor (1916 — 2015) and it sparked an idea.