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Lloyd Martin Press

  • Lloyd Martin Review 2017

    WESTWORD

    Review: At Robischon, Eight Solos Add Up to a Major Look at Contemporary Abstraction
    by Michael Paglia, January 25, 2017

    In Martin’s paintings, horizontal bars are the chief formal device; this has been the artist’s signature for the past five years.

    …these solos resolve into a single coherent visual experience because all of the artists are dealing with the same issue: how to do something different with abstraction, arguably the style of our time. And they all succeed in their own distinctive ways. Martin adds an expressive, painterly aspect to the mix of geometric shapes and straight lines, and his stacked rectilinear shapes are painted and repainted with gauzy layers of pigments, allowing the earlier coats to show through in areas and lending the bars a scuffed-looking quality.

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  • Lloyd Martin Elle Decor 2014

    ELLE DECOR

    Lloyd Martin
    by David Colman, September 2014

    “I work toward something and then circumvent it intentionally, just to keep some kind of dialog going.”

    Lloyd Martin found himself torn between the two sides of one of modern art’s greatest aesthetic face-offs: the expansive canvases of the Abstract Expressionists versus the reductivist sensibilities of the minimalists who had swept into fashion in the 1960’s.

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  • Lloyd Martin ANE Online 2012

    ART NEW ENGLAND ONLINE

    The Paintings of Lloyd Martin: On or off the grid?
    Henry McMahon, June  2012

    It is no wonder that this motif has sustained Martin’s interest for so long. His factories are beautiful and complex lessons in perception; the properties of their various materials are made all the more explicit by their relationship to each other.

    The paintings in Mettere, lacking the obvious figurative or architectural reference of Martin’s earlier work, rely on establishing the kinds of color and surface relationships that are evident in his photographs. Martin is a dexterous and versatile paint handler. His paintings contain striking and varied contrasts between and among their various components.

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  • Lloyd Martin City Arts 2012

    CITYARTS

    Colors that Speak
    by John Goodrich, May 8 , 2012

     The artist’s recent work has taken on bolder colors and juicier textures…

    Martin continues to explore the rhythms of the industrial architecture around his Provincetown studio. To the artist’s great credit, his paintings are never merely descriptive. They could just as easily be arial views of city scenes…

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  • Lloyd Martin City Arts 2011

    CITYARTS

    Lloyd Martin
    by Maureen Mullarkey, June/July 2011

     Each arrangement results from manifold and complex decisions that aspire to beauty—nothing more and absolutely nothing less.

    The fascination of Martin’s painting lies in its pitch-perfect balance between the constraints of a formal grid and the rhythmic movement of horizontal bands within it.

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  • Lloyd Martin Art News 2007

    ARTNEWS

    Lloyd Martin, Stephen Haller Gallery
    by Meredith Mendelson, December 2007

     Martin’s suggestions fo quaintness and domesticity stand in stark contrast to the modern abstract mode of conveying it. But the combination works…

    Lloyd Martin presented a kind of homage to Abstract Expressionism. But rather than simply quote from the formalism of decades past, the Rhode Island-based artist seemed more interested in merging all kinds of associations to create a melancholic memory of the style.

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  • Lloyd Martin Art in America 2007

    ART IN AMERICA

    Lloyd Martin at Stephen Haller Gallery
    by Tracey Hummer, June/July 2007

     There is a bit of  modern-day Mondrian in Martin’s work (think super-gritty, less vibrant Broadway Boogie Woogie)…

    Martin constructs his paintings in layers: stains, drips, bands, bars and perfectly level lines.  There is much to see within these carefully composed abstractions.

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  • Lloyd Martin The Sun 2006

    THE NEW YORK SUN

    Lloyd Martin
    by Maureen Mularkey, October 19, 2006

     His patterns and arrangements are full of surprises and changes of mood. They evade conventional attempts to make meaning of them.

    Dominant bands of color, frequently black, intersect with finer striations to from fields of illusive neutrals that are the fixed frameworks within which latitude is granted to chance.  Its simplicity is offset by the complex layering and reworking of surfaces.

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