Clare Gemima

Izhar Patkin, Nam June Paik, Thomas Lanigan-Schmidt, Kim MacConnel, Pooh Bear, and myself 🦋 📸 @flaneurshan.studio x @flaneur_shan

Some shots of Anouk Lamm Anouk's studio in Vienna, with Clare Gemima during her residency at Painting Diary in Vienna. Anouk Lamm Anouk (b. in Vienna, Austria) lives and works in Vienna, Austria. Anouk Lamm Anouk studied at UdK, Universität der Künste, Berlin, Germany, and Academy of Fine Arts Vienna, Austria. Their artistic practice spans painting, drawing, sculpture, installation, and writing. Their manifesto claims: “No Age, No Gender, No Origin”, or as they say: “I am no one I am nothing” which could be a reference to their embedment in Zen Buddhism. Anouk identifies as trans-non-binary and by virtue of this and living as a Person with autism, it is crucial to them to rid themselves of the external attributions and labels that come from normative society in order both to see and encounter others without the violence of classification and anticipation, to be truly open. The starting point of their paintings is the raw linen, the canvases itself is crucial. The unprimed frontside of the linen is a living part of their works and becomes a connecting visual element across several series. Their colour palette is strictly limited, most often to earthy colours, hues of black and off-white are also present; reduction is key. Anouk works both in series and independently of series – some paintings are solely abstract, while others are predominantly figurative – all of which is connected by unique handwriting and gestural strokes. Text or text fragments are also part of their practices. The texts are intentionally unobtrusive, sometimes they require viewers to look for them. These give a hint or raise questions. @anouklammanouk @claregemima #anouklammanouk #claregemima #writerinresidence #artistinresidence #paintingdiaryresidency

Andreas Reiter Raabe's studio, as seen by Clare Gemima during her residency at Painting Diary in Vienna. Andreas Reiter Raabe (*1960) lives and works in Vienna. His work deals both in practice and in theory with the essence of painting and its positioning in art history. Reiter Raabe uniquely combines several professions in one person: conceptual artist, painter, art theorist, art critic, curator and collector. @areiterraabe @claregemima #andreasreiterraabe #claregemima #writerinresidence #artistinresidence #paintingdiaryresidency

During her residency in Vienna, Clare Gemima had the opportunity to visit Paulina Emilia Aumayr’s studio and her exhibition Systems of Subversion at Galerie Kandlhofer. Paulina Emilia Aumayr (born 2002 in Vienna) is an artist working in painting and text. Her practice navigates the intersections of intimacy and violence, addressing the subtle, structural forces of patriarchal power. Paulina Emilia Aumayr lives and works in Vienna. She studies at the Academy of Fine Arts Vienna in Daniel Richter’s class and has shown her work at Galerie Krinzinger, VinVin Galerie, Galerie Michael Bella, and the Parallel Art Fair. @claregemima @paulinaaumayr @galerie.kandlhofer #claregemima #paulinaaumayr #galeriekandlhofer #writerinresidence #painting

New York–based artist and writer Clare Gemima was our latest resident during December and January. While in Vienna, she spent time visiting several local artists’ studios, and we are excited to share a glimpse of the studios she visited. Alongside connecting with artists in Vienna, she also travelled to Bratislava to visit Andrej Dúbravský in the city where he is based. Andrej Dúbravský (b. Nové Zámky, Slovakia, 1987). Inspired by a rural perspective from the organic garden and studio he maintains in countryside of southwest Slovakia, Dúbravský creates depictions of idyllic landscapes, silhouetted skylines of factories, self-portraits, animal portraits, and studies of male figures that confront timely issues of agriculture, industry, politics, identity, and sexuality. The works reflect an “ethical hedonism” and sustain utopian ideals under rather dystopian conditions. The artist’s paintings articulate his reflections in empathetic yet unsparing studies of the environment and its devastation, of man and nature. His broad art-historical repertoire is reflected by his most recent works, which explore contemporary versions of classical subjects such as the landscape or the nude—quite seriously and diligently in some instances, with aloof irony in others. The muted colors seem almost conservative until the beholder notes the contemporary and post-traditional context in which the paintings are set. @andrej_dubravsky @claregemima #andrejdubravsky #claregemima #writerinresidence #painting #artistinresidence

@francinemtint Panoramic View – Portrait of the Artist Francine Tint A film by Pola Rapaport “Where have you been? I thought something terrible had happened to you. It’s been so long—what’s been going on?” “Been busy losing my mind, Francine,” I replied, somewhat guiltily. “Oh,” she said without missing a beat. “So you’ve fallen in love then?” “God knows, Francine.” How can one best describe Francine Tint? A New York firecracker? A razor-focused force? Someone who emails me at 4am (Eastern Standard Time?!) A painter who, after more than fifty years splashing and swimming in paint, is finally receiving the recognition her work has long commanded? Before we parted one evening at her local Greenwich Village restaurant, she leaned in and offered a piece of advice in a conspiratorial whisper: “Just remember, Clare—if it’s hysterical, it’s historical.” In order of appearance: Francine Tint and cinematographer Wolfgang Held in Tint’s studio, New York. Photo by Pola Rapaport. Francine Tint in her studio, New York, 1997. Photo by J. Frederick Smith. All photos courtesy of the artist. Full review on @whitehotmagazine

@michael.alexander.campbell @villamagdalena33 @tamburini_projects Campbell’s most recent exhibition, Heroes, Villains and Other Toys — organized in collaboration with Florence based Tamburini Projects —took place at Villa Magdalena in Madrid. Founded by curator and writer Cy Schnabel, the gallery has developed a programme attentive to narrative and figurative work, and remains open minded to exhibiting painters working across a wide range of approaches. Having previously presented artists such as Lucy Mullican and Mie Yim—two painters whose work I have had the joy of writing about—the space champions experimentation in painting by artists spanning generations, geographies, and techniques. In order of appearance: New York Charity Shop Safari II, 2025. Oil on canvas. 170 x 130 cm. Il Santino, 2025. Oil on canvas. 170 x 130 cm. Installation of Heroes, Villains, and other Toys. Leo’s Lunch at Casalinga, 2025. Oil on canvas. 170 x 260 cm (dyptich). A Shop on Via Maggio, 2025. Oil on canvas. 170 x 130 cm. (Closeup) A Shop on Via Maggio, 2025. New York Charity Shop Safari I, 2025. Oil on canvas. 170 x 130 cm. Sculpture Studio in Pietrasanta, 2025. Oil on canvas. 200 x 270 cm. Highland Goblin Telling the Future, 2025. Oil on canvas. 135 x 180 cm. Installation of Heroes, Villains, and other Toys. All photos courtesy of the artist and Villa Magdalena. Photography: Pablo Gómez-Ogando Full review on @whitehotmagazine

Link in bio to read full article Heroes, Villains and Other Toys at Villa Magdalena By Clare Gemima @claregemima @whitehotmagazine @villamagdalena33 @tamburini_projects

Clare Gemima is currently in Vienna as the Painting Diary writer in residence for the months of December and January. Clare Gemima (b. Aotearoa, New Zealand) is an arts journalist and emerging curator living and working in New York. Her work centers on building scholarship for early-career immigrant, established, and historically overlooked artists working across the United States and abroad.  As a writer, she regularly contributes to publications like Eazel, Impulse Magazine, Artefuse, Contemporary HUM, Art New Zealand, The Brooklyn Rail, Whitehot Magazine, EV Grieve, AWT, Wide Walls, Frieze, Passing Notes, New Women New York, Artsy and Painting Diary. She is also the Director and Lead Writer for Painting Diary, and recent long-form  conversations include: Canyon Castator, Margaret Mathews-Berenson (Peeky) on the legacy of Deborah Remington, and Kim MacConnel. During her time at the Painting Diary Residency in Vienna, Austria, she intends to form an overview of the Viennese contemporary art scene and forge connections with curators, gallerists and artists. Long-form content developed during this residency will be published by Painting Diary in 2026.  #paintingdiary #claregemima #writerinresidence #painting #vienna #artistinresidence #paintingdiaryresidency #writingresidency #artistresidency #aotearoawriter #newyorkwriter Photo: Courtesy of the writer @claregemima and Painting Diary

The Female Form: @tom_wesselmann & @mickalenethomas from the Collections of Jordan D. Schnitzer and His Family Foundation. November 22, 2025 – April 6, 2026. @psartmuseum Intoxication with the female form, particularly when rendered nude, has driven centuries of critical, moral, and romantic projection. The Female Form: Tom Wesselmann & Mickalene Thomas, currently on view at the Palm Springs Art Museum, confronts this enduring fixation head-on by placing two artists with radically different stakes in the subject, Tom Wesselmann (1931-2004), and Mickalene Thomas (1971- ), into pointed dialogue. The exhibition hinges on an elegant structural device: two parallel vinyl timelines, beginning together and then splitting as they wrap the gallery’s perimeter. One, in red, charts paintings by women, from Berthe Morisot’s Devant la psyché, 1890, through Romare Bearden’s Black Venus, 1968, while the other, in orange, tracks the corresponding history of paintings by men. Simple, yet effective, these color bands pulse through the exhibition like a heartbeat, and position the female form as an evolving, contested inheritance—an image whose meaning continues to shift as it moves through intertwining histories of vision, power, and desire. Full review on @whitehotmagazine All images courtesy of @schnitzerfoundation

We’re honored to see Endless Limits: The Work of James Howell, 1962–2014 so thoughtfully reviewed in Noah Becker’s Whitehot Magazine of Contemporary Art. ⁣ In her December feature, writer Clare Gemima captures the full arc of Howell’s practice, from early figuration and the influence of Fairfield Porter, to the atmospheric Port Blakely works, to the radical clarity of Series 10. Her text beautifully articulates Howell’s lifelong pursuit of perception, patience, and the infinite possibilities found within gray. ⁣ Our deepest thanks to the Parrish Art Museum, and to co-organizers Kaitlin Halloran and Scout Hutchinson, for bringing this landmark retrospective to life. On view through February 8, 2026 in Water Mill, NY. ⁣ Read the full review in Whitehot Magazine, December 2025 (linked in our bio) ⁣ #JamesHowell #EndlessLimits #ParrishArtMuseum #WhitehotMagazine #ContemporaryArt #Series10 #MonochromePainting #HiroshiSugimoto #ArtReview #ArtExhibition #JamesHowellFoundation

In the Darkness I See @kathygoodellart October 18 - November 16, 2025 @privatepublicgalleryhudson Hudson, NY Kathy Goodell doesn’t want anyone deciphering how she paints. In truth, when she looks at the canvases that currently fill Private Public in Hudson, she can’t, for the life of her, recall how she made them. “Something else takes over,” she told me with a giggle, as she buoyantly glided across the gallery. Rightfully proud of these recent works, Goodell’s abstractions are unpretentious yet resolute, and hold their ground through her intention to create singular entities rather than a chorus of characters. Blending atmospheric hues, sporadic calligraphies, and accidental pareidoliac forms, In the Darkness I See illuminates personal anecdotes, stories, and knowledge that the artist, perhaps, is still learning to process herself. Full review on @whitehotmagazine In order of appearance: Mouvemente, 2024. Dye, shellac ink, acrylic on linen. 72 x 60 in. Debris of Ancestors, 2024. Flashe, shellac ink, acrylic on linen. 72 x 60 in. Coming Back, 2025. Acrylic on linen. 42 x 36 in. One Thousand Years from Now, 2025. Flashe, acrylic, ink on linen. 96 x 72 in. Cipher, 2025. Flashe, dye, acrylic on linen. 70 x 45 in. The Night Belongs to Lovers, 2025. Flashe and acrylic on canvas. 90 x 80 in. The Repetition of Darkness (for William Goodell), 2025. Flashe and acrylic on canvas. 42 x42 in. Tituba’s Spell, 2024. Flashe, dye, ink, acrylic on linen. 70 x 45 in. In the Darkness I See Installation View, 2025 All Photos courtesy of the artist, taken by Autumn Lin.