Einspruch writes: "Staver has long felt compelled to retell her family’s stories, iconically in their way, but not so much as to defeat all the specifics... In her more recent paintings, mythology supplies enough storyline to give her figures, soaked in a vat of Cubism just long enough to become delightfully rubbery, something to do." He concludes: "A simultaneous and revelatory show of Bob Thompson (whose influence Staver acknowledges) and the madcap Louis Eilshemius at Michael Rosenfeld Gallery prompts me to wonder if there’s a mythological-modernist tradition that we ought to consider more thoroughly, with Staver as its current chief practitioner."
Rubinstein writes: "It turns out that these paintings haven’t been 'painted' at all. Thomas’s process involved first making small collages from strips of paper, packing tape, cardboard, and corrugated plastic, which she then photographed with an 8-by-10-inch camera. The next step took place in a commercial photo studio with a giant darkroom (the studio specialized in printing billboard posters). There, Thomas used an 11-by-14 enlarger mounted on tracks to expose her negatives onto linen supports that had been prepared with black-and-white photo emulsion. These paintings, then, are actually photographs printed onto linen. At a moment when unpainted paintings seem to be everywhere (to say nothing of abstract photography), Thomas’s work looks incredibly prophetic. Decades before Wade Guyton, Mark Flood and a host of others discovered the artistic potential of the ink-jet printer, Thomas was making hands-off paintings of conceptual rigor and unassuming beauty."
Jillian Steinhauer previews Women of Abstract Expressionism which will be on view at the Denver Art Museum from June 12, 2016 – September 25, 2016, and talks to the exhibition’s organizer, Gwen Chanzit about the show.
Chaznit comments: "Most [of the exhibited artists] were not fully acknowledged in their time. Though many showed in exhibitions along with men, this was a time when societal opportunities for women were limited. It’s not so surprising that Abstract Expressionism, like other movements, has largely been defined by male painters; yet in this case, their male-ness, their heroic machismo spirit, has become a defining characteristic of the expansive gestural paintings of Abstract Expressionism. But process and experimentation with materials weren’t exclusive to men; they are also evident in paintings by women. Many female painters also responded to personal triggers in their own firsthand experience; some abstractions might even be thought of as interior, emotional gesture. This exhibition endeavors to expand what we know of the movement to include canvases by women of Abstract Expressionism that express compelling points of view by individuals who were individual in every sense."
Zachary Keeting and Christopher Joy talk with artist Helen O'Leary at her exhibition Delicate Negotiations, on view at Lesley Heller Workspace, New York, through October 18, 2015.
O'Leary remarks: "I have a full history of painters in my head that I'm thinking about... and it's my way of coming to that language through a very very different structure, that's to do with my own life, to do with my own system, to do with my own failure. I think of big, heroic paintings a lot and then I think of my way of getting there, which is through mostly revision, small movements, and failure."
Allie Biswas reviews Julie Sass: Be-Bop Your Visual Acts (Shared Space) at Third Space, Copenhagen, Denmark, on view through September 27, 2015.
Biswas notes that "[Sass's] display consists of works on paper as well as paintings, of which the majority are diminutive (the size of a large notepad). The exceptions to this are a couple of substantial canvases that take up the central wall and window. The objects have been hung by Sass so as to be caught at various viewpoints (one painting hangs above the doorframe; another sits on top of a short pedestal on the ground), mirroring the transitional perspectives offered by her pictures. Using paint as her primary medium, and often relying on collage techniques, Sass’s skill lies in generating bold, uncluttered images that oscillate between precision and fluidity as a result of her textural and structural manipulations."
Dylan Kerr interviews Katherine Bernhardt on the occasion of her exhibition Pablo and Efrain at Venus over Manhattan, on view through October 24, 2015.
Bernhardt comments: "I’m thinking more about daily life, about products and things that we use. I’m thinking about stuff at the deli, things like that... They’re just good colors and shapes. Look at a sock: it’s got really good colors, white with red and blue stripes. Toilet paper is a squarish oval. A cigarette is a line. A dorsal fin is a triangle, and so is a Dorito ... I think the best painters don’t intellectualize their own art—they just make stuff. It’s more about color choices and color combinations."
Mahjabeen Syed highlights a "one week only" exhibition of works on paper by Camille Pissarro at L’Alliance Française de Chicago, on view through September 24, 2015. Dana Gordon argued for the Pissarro's importance in his article Justice to Pissarro, published in 2013 on Painters' Table.
Larry Groff and Tina Engels interview painter Lani Irwin.
Asked about her working method Irwin comments "There is no set method. Rarely do I make preliminary drawings, never do I plan out a painting in any formal way. I spend a lot of time staring at the blank canvas. In the end I must just start with something and believe that the next something will reveal itself in the painting of that first something. This requires a kind of faith that the painting itself will take over. What I do is more like choreography, placing objects and figures in relationship to one another to create a tension that interests me. There is no prescription for how this might work best. The selection of the particular objects or the gesture and position of the figures creates a dialogue. Objects speak to me and to one another. It is the dance between these elements rather than a formal consideration of balance or square within a rectangle that orchestrates my paintings and it is driven by intuition."
Greenwalk writes: "Though Caillebotte painted numerous views of Haussmann’s Paris, 'Paris Street, Rainy Day' is the showstopper. In a letter to Monet, Caillebotte wrote 'the very great artists attach you even more to life.' And in this work he seems to achieve that ambition. The thoughtfully composed street scene of umbrella-holding Parisians seems naturally cropped, as though an umbrella is framing our viewpoint, too. A vivid green lamppost creates a strong vertical axis in the center of the canvas. Chimneys receding into the distance look like musical notes against the sky, adding a silent score to the rainy day picture."
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.