{"id":83,"date":"2020-05-15T13:34:40","date_gmt":"2020-05-15T18:34:40","guid":{"rendered":"https:\/\/bridge356.qodeinteractive.com\/?p=83"},"modified":"2020-12-05T12:36:03","modified_gmt":"2020-12-05T18:36:03","slug":"bob-nickas-on-alex-brown","status":"publish","type":"post","link":"https:\/\/alexbrownfoundation.org\/bob-nickas-on-alex-brown\/","title":{"rendered":"Bob Nickas on Alex Brown"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"83\" class=\"elementor elementor-83\">\n\t\t\t\t\t\t<div class=\"elementor-inner\">\n\t\t\t\t<div class=\"elementor-section-wrap\">\n\t\t\t\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-a6ca1ac elementor-section-full_width elementor-section-height-default elementor-section-height-default parallax_section_no qode_elementor_container_no\" data-id=\"a6ca1ac\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-no\">\n\t\t\t\t\t\t\t<div class=\"elementor-row\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-c2d85fa\" data-id=\"c2d85fa\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-column-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t<div class=\"elementor-widget-wrap\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-f995f33 elementor-widget elementor-widget-text-editor\" data-id=\"f995f33\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-text-editor elementor-clearfix\">\n\t\t\t\t<p>One of the most insightful critics on Alex Brown\u2019s paintings is the curator and writer Bob Nickas. In his book <a href=\"http:\/\/uk.phaidon.com\/store\/art\/painting-abstraction-9780714867168\/\">Painting Abstraction: New Elements In Abstract Painting<\/a>, Nickas discusses Alex\u2019s work at length, and publisher Phaidon has a <a href=\"https:\/\/www.phaidon.com\/agenda\/art\/articles\/2014\/march\/19\/alex-browns-painting-abstraction\/\">great short piece<\/a> recapping one of Nickas\u2019 commentaries, on the painting shown above:<\/p>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-e86e020 elementor-widget elementor-widget-text-editor\" data-id=\"e86e020\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-text-editor elementor-clearfix\">\n\t\t\t\t<blockquote><h5 class=\"blockquote-text\">\u201cSupermix (2004) is ostensibly a portrait of the reggae star Yellowman. However, although his outline is clear as he throws a shape for the camera, his face is blurred by what looks like pixellated disruption, the colouring of his shirt is a blue landscape, while his overall image exists somewhere between foreground and background, part of neither and both. In the way it plays with real and imaginary, physical and mental space, it offers far more food for thought than a photo could. It both extols the virtues of abstract art and gives the lie to the idea that the camera has made painting obsolete. It takes more time to make some pictures than it does to click a button.\u201d<\/h5><\/blockquote>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>In his book Painting Abstraction: New Elements In Abstract Painting, Nickas discusses Alex\u2019s work at length<\/p>\n","protected":false},"author":1,"featured_media":457,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[2,13],"tags":[],"_links":{"self":[{"href":"https:\/\/alexbrownfoundation.org\/wp-json\/wp\/v2\/posts\/83"}],"collection":[{"href":"https:\/\/alexbrownfoundation.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/alexbrownfoundation.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/alexbrownfoundation.org\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/alexbrownfoundation.org\/wp-json\/wp\/v2\/comments?post=83"}],"version-history":[{"count":0,"href":"https:\/\/alexbrownfoundation.org\/wp-json\/wp\/v2\/posts\/83\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/alexbrownfoundation.org\/wp-json\/wp\/v2\/media\/457"}],"wp:attachment":[{"href":"https:\/\/alexbrownfoundation.org\/wp-json\/wp\/v2\/media?parent=83"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/alexbrownfoundation.org\/wp-json\/wp\/v2\/categories?post=83"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/alexbrownfoundation.org\/wp-json\/wp\/v2\/tags?post=83"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}