Cohen writes: "Process in these 'black' paintings hovers between deletion and accretion. The eye quickly becomes attuned to the survival of obscured, subcutaneous shapes and zones, and indeed colors, without compromising the surface’s serenely achieved sheerness. In this respect, the enigmatic black paintings of Ad Reinhardt, with their cruciform substructures, inevitably come to mind, as do the contingent emerging complexity of Suzan Frecon’s irregular geometries. In Provosty’s case, in counterpoint to the play of glossy bent shape against allover matt ground, an off-kilter vertical axis serves to further destabilize monochrome finality, adding uneven slivers of exposed canvas to outer edges of the rectangle to give resulting shape to what would otherwise have been merely accepted as a given, a field. These are complicatedly simple pictures."
Kathryn Hughes reviews Maria Lassnig at Tate Liverpool which will be on view from May 18 - September 18, 2016.
Hughes writes: "Lassnig’s starting point may have been her gut feeling, but what she did with that feeling was always artistically knowing and intellectually nimble... Far from being whimsical or cute, Lassnig provides a succinct and witty account of the difficulty of translating bodily sensation into a visual language."
"At first glance, the work on view at Alexandre seems a straightforward reiteration of Barnet’s lingering in the same ideographic territory that Motherwell, Gottlieb and others had moved on from by 1950. That he stayed with this kind of vision for another decade is a mystery in itself, made all the more intriguing by the fact that he came out of it a figurative painter."
Zachary Keeting and Christopher Joy talk with Michael Berryhill at his exhibition Something of a Feather at KANSAS Gallery, New York, on view through May 22, 2016.
In the gallery press release, Chris Sharp writes of Berryhill's work: "The paintings of Michael Berryhill exist on their own terms, unequivocal, stark, structured, phosphorescent and protean. Granted, those terms do not come out of nowhere; they are as indebted to the likes of Pierre Bonnard as they are to Henri Matisse or, say, Philip Guston, and then some. The perfectly unselfconscious faith in painting of which they are a byproduct is almost fascinating."
Muchnic observes: "From the beginning to the end of her career, Lundeberg drew most of her subject matter from memory and imagination, rarely painting directly from models, studio set-ups, or nature. Yet all of her works—even the most abstract—refer to reality, or alternate realities. A spare, hard-edge composition that appears to be non-objective at first glance soon reveals itself as an interior/exterior conundrum. The spaces created by Lundeberg can shift from domestic containment to heavenly freedom, from empty rooms to borderless land or sea. A reclining nude can double as a ridge of rolling hills. A still-life or portrait can materialize as a picture within a picture, within another picture. As the artist sometimes said, she did not paint what she saw, she painted what she wanted to see."
Esplund writes: "... what’s unusual about this exhibition, which emphasizes the influence that Edvard Munch ... and his German and Austrian contemporaries had on one another and the affinities they shared, is that its headliner often feels like a supporting player... Often, the strongest pictures here, though in dialogue with Munch, were created by other artists. Munch’s zombie-like mobs in his urban series 'Angst' are models for Kirchner’s 1908 'Street, Dresden' (reworked 1919; dated on painting 1907)—among this exhibition’s knockouts. Comparatively, Munch’s figures merely illustrate despair, whereas Kirchner’s charged, acidic reds, pinks and yellow-greens, punchy yet slow-building, feel like emotions flooding to the surface."
Mir writes: "The layering of East and West, and the sense of connection Irish has with [Edgar Alan] Poe’s Eureka, suggest that geographical boundaries and standardized notions of time are perhaps meaningless. She implies that there are no discrete actions. Poe, when he discusses his definition of gravity, meditates on the complex relation of one atom to another. It’s a meditation that speaks to Irish’s ambitions in her work... The atoms in Irish’s work are the markers of globalization, the Rococo rooms, the anti-war protestors, the presence of Chinese and Japanese influence, that seem to have been drawn together by enigmatic forces. But where Poe is rightly in awe of the universe’s composition, the forces Irish depicts aren’t mysterious. They are driven by humankind’s greed and deserve no reverence."
Schjeldahl writes that "[Eisenman] paints narrative fantasies that look bumptiously jokey at first, but reveal worlds of nuanced thought and feeling. They must be judged in person; in reproduction they lose the masterly touch that is Eisenman’s signature. The MacArthur Foundation cited her for restoring 'to the representation of the human form a cultural significance that had waned during the ascendancy of abstraction in the 20th century.' I’d like it to be true. Eisenman’s resourceful Expressionism hints at the power of narrative painting to re-situate the art world in the world at large."
Lawrence Gipe reviews Richard Diebenkorn: The Sketchbooks Revealed and Edward Hopper: New York Corner at the Cantor Arts Center, Stanford through August 8, 2016.
Gipe observes: "In a transition zone between the two shows, the curators ... utilize a small suite of hitherto unseen works by the youthful Diebenkorn, who was clearly imitating his mentor. Truth be told, the largest painting looks so much like a Hopper, it makes you do a double take on the label. The inclusion of these pieces as a bridge between the two exhibitions neatly embellishes what was formally just a biographical 'footnote.' The gesture also provides a nice antidote to the time-tested story applied to Diebenkorn (and many of his cohorts) of the American artist assimilating the European avant-garde. "
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.