Sharon Butler visits the studio of painter Greg Drasler whose exhibition Road Trip is on view at Betty Cuningham Gallery, New York through August 5, 2016.
Butler writes: "Imagine crossing the country before there was an interstate highway system but after the introduction of two-lane paved highways, say in the early 1950s, and you get an idea of what era the paintings evoke. Drasler's palette combines the muted tints of old hand-colored postcards with the vibrant colors of concert posters from the 1960s. The effect is one of nostalgia and longing."
Barrie observes: "[Vigas'] characteristic mix of figuration and abstraction shows the clear influence of cubism, expressionism and constructivism, yet he always retained a distinctive flair for using fragments almost like fractals - which sets his work apart from his contemporaries. This use of fragments is also the crucial device of Vigas’ oeuvre, that allows him to re-invent recurring themes throughout his long artistic career. Shapes are sometimes fragmented into geometric shapes and his images are often made of recomposed fragments."
MacAdam writes "For Hafif, who did graduate work in the Italian Renaissance and Far Eastern Art, that history is deeply embedded in her paintings, which reflect the affinities between Europe and the East, especially in the rich coloring and architectural allusions. Such translation extends to literary evocations as well, with images that evoke words and poetry in their rhythms and shapes, much in the way words can convey the idea of images, and the shape, as in concrete poetry."
Calandra writes: "[Rubenstein's] gestures go from fine and succinct to large and sweeping and use light pinks and cherry reds to offset grassy greens and minty blues — reminding me of the Fauves at their best and brightest. She mentioned in our conversation that The Group of Seven had an early influence on her while studying in Canada. I can see that her paintings are making friends with the late landscapes and theoretical sensibilities of Emily Carr. Carr said 'Art is art, nature is nature, you cannot improve upon it... Pictures should be inspired by nature, but made in the soul of the artist; it is the soul of the individual that counts.' Rubenstein's paintings seem to be channeled directly from her soul and she takes up every bit of space on her panels to share with us that glowing light she has within."
Einspruch writes that "CIMA emphasizes [Morandi's] work from the 1930s, which is the early side of the mature paintings... By the Thirties he figured out that his strengths lie in the landscape and still life. Painting the figure, as made clear by a mushy self-portrait from 1930, inflicted agony on him. A still life from a year later shows him emptying the forms he depicts of everything but the essential minimum of modeling, and doing so with command. This turned out to be a rich enough problem to occupy him fruitfully for the next thirty-three years."
Mary Jones interviews painter David Rhodes on the occasion of his exhibition Between the Days at Hionas Gallery, New York, on view through June 25, 2016.
Rhodes comments: "I feel as if I follow the paintings. They’re not describing ideas that I have a priori, or illustrating something I desire to manifest through painting. I feel that they amount to a dialog, and in this they are smarter than I am. They’re not an expression of my ego: they’re interesting for me; they move me. I find the paintings of interest so I make more, and they surprise me. The relationships they establish and the resonance of the day-to-day world of abstract ideas are also very interesting. The issues come through the painting. They produce a philosophical position and so also reflect one."
Maev Kennedy previews Jasper Johns and Edvard Munch: Love, Loss and the Cycle of Life, on view at the Munch Museum, Oslo through September 25, 2016. The show examines the relationship between two paintings - one by Johns and one by Munch. The pictures bears similar titles that include the words "Between the Clock and the Bed."
Kennedy writes that exhibition curator "[John B] Ravenal thinks both artists’ paintings are about sexuality and mortality, subjects much on the minds of both men – explicit in the Munch work, with the painting of the nude girl hanging by the bed, and the coffin-like clock measuring the remaining time, but also lurking in the shadows of the Johns."
Piri Halasz reviews Sea and Stone: The Thimble Islands - Paintings by Arthur Yanoff at the Mattatuck Museum in Waterbury, Connecticut, on view through July 24, 2016.
Halasz writes that "Yanoff, who is based in the Berkshires, has over the years developed a technique that combines swathes, swabs and dabs of acrylic paint with small collage elements (usually bits of paper, but sometimes more substantial objects). This turns out to be an ideal way to suggest small islands, rocky outcroppings, bits of flotsam and jetsam and occasionally living things– all floating upon or soaring above the open water. The effect is especially persuasive when the canvas is horizontal, and one feels that one is looking down on it from an aerial view. On the other hand, a vertical may create the feeling that one is looking at a cross-section of the Sound, with the lower part of the canvas suggesting underwater phenomena."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.