It’s an imperfect comparison for evidently formalist painting, but photographic references in terms like “contact prints,” “photo transfers,” “negatives,” and “emulsion” are hard to avoid when thinking about Steven Cox’s minimally-arranged texture collages and canvases treated with all-over brushless painting techniques. In the way that a photographer notices and emphasizes parts of the world around them, Cox’s canvases seem to organize and collect found textures, material histories, literary and musical references from their immediate surroundings, rather than espousing a pre-composed message[...]Poems and his studio soundtrack float into his titles, like poet Robert Burns’ “My Heart’s In The Highlands,” Billy Joel’s “Somewhere Along the Line,” and the Beastie Boys’ “Hot Sauce.”
Read the full dialogue between Whitney Kimball and Steven Cox here.
It’s an imperfect comparison for evidently formalist painting, but photographic references in terms like “contact prints,” “photo transfers,” “negatives,” and “emulsion” are hard to avoid when thinking about Steven Cox’s minimally-arranged texture collages and canvases treated with all-over brushless painting techniques. In the way that a photographer notices and emphasizes parts of the world around them, Cox’s canvases seem to organize and collect found textures, material histories, literary and musical references from their immediate surroundings, rather than espousing a pre-composed message[...]Poems and his studio soundtrack float into his titles, like poet Robert Burns’ “My Heart’s In The Highlands,” Billy Joel’s “Somewhere Along the Line,” and the Beastie Boys’ “Hot Sauce.”
Read the full dialogue between Whitney Kimball and Steven Cox here.
It’s an imperfect comparison for evidently formalist painting, but photographic references in terms like “contact prints,” “photo transfers,” “negatives,” and “emulsion” are hard to avoid when thinking about Steven Cox’s minimally-arranged texture collages and canvases treated with all-over brushless painting techniques. In the way that a photographer notices and emphasizes parts of the world around them, Cox’s canvases seem to organize and collect found textures, material histories, literary and musical references from their immediate surroundings, rather than espousing a pre-composed message[...]Poems and his studio soundtrack float into his titles, like poet Robert Burns’ “My Heart’s In The Highlands,” Billy Joel’s “Somewhere Along the Line,” and the Beastie Boys’ “Hot Sauce.”
Read the full dialogue between Whitney Kimball and Steven Cox here.
It’s an imperfect comparison for evidently formalist painting, but photographic references in terms like “contact prints,” “photo transfers,” “negatives,” and “emulsion” are hard to avoid when thinking about Steven Cox’s minimally-arranged texture collages and canvases treated with all-over brushless painting techniques. In the way that a photographer notices and emphasizes parts of the world around them, Cox’s canvases seem to organize and collect found textures, material histories, literary and musical references from their immediate surroundings, rather than espousing a pre-composed message[...]Poems and his studio soundtrack float into his titles, like poet Robert Burns’ “My Heart’s In The Highlands,” Billy Joel’s “Somewhere Along the Line,” and the Beastie Boys’ “Hot Sauce.”
Read the full dialogue between Whitney Kimball and Steven Cox here.
It’s an imperfect comparison for evidently formalist painting, but photographic references in terms like “contact prints,” “photo transfers,” “negatives,” and “emulsion” are hard to avoid when thinking about Steven Cox’s minimally-arranged texture collages and canvases treated with all-over brushless painting techniques. In the way that a photographer notices and emphasizes parts of the world around them, Cox’s canvases seem to organize and collect found textures, material histories, literary and musical references from their immediate surroundings, rather than espousing a pre-composed message[...]Poems and his studio soundtrack float into his titles, like poet Robert Burns’ “My Heart’s In The Highlands,” Billy Joel’s “Somewhere Along the Line,” and the Beastie Boys’ “Hot Sauce.”
Read the full dialogue between Whitney Kimball and Steven Cox here.
It’s an imperfect comparison for evidently formalist painting, but photographic references in terms like “contact prints,” “photo transfers,” “negatives,” and “emulsion” are hard to avoid when thinking about Steven Cox’s minimally-arranged texture collages and canvases treated with all-over brushless painting techniques. In the way that a photographer notices and emphasizes parts of the world around them, Cox’s canvases seem to organize and collect found textures, material histories, literary and musical references from their immediate surroundings, rather than espousing a pre-composed message[...]Poems and his studio soundtrack float into his titles, like poet Robert Burns’ “My Heart’s In The Highlands,” Billy Joel’s “Somewhere Along the Line,” and the Beastie Boys’ “Hot Sauce.”
Read the full dialogue between Whitney Kimball and Steven Cox here.
