Goodrich writes: "Kahn vigorously characterizes the elements within these scenes, not through illustrative descriptions but through pictorial events. What does this mean? Simply put, if you look at the paintings and absorb their most elemental effect – the impact of their colors and the intervals between them – you’ll gain, sooner or later, an uncanny sense of presences filling the surface, and even your relationship to them. Kahn’s colors are keenly active, not in simply pushing forward and back, but in their pressures across the surface. They turn her compositions into spacious but tightly-knit meshes, with each color – whether spreading as open space, condensing as detail, or connecting as a tensile gesture – leveraging the next."
Alexander observes: "Unlike the majority of her paintings in recent years, the new works 'read' immediately as landscapes, rather than as abstract paintings distilled from fleeting observations. That is not to imply that they have lost any of their potency as poetic objects. The artist's focus is exquisite, her images reduced to the simplicity of a diagram, or to quietly receding color fragments on the plane."
A. Bascove reviews Joan Snyder: Sub Rosa at Franklin Parrasch Gallery, New York, on view through June 20, 2015.
Bascove writes: "Snyder is in full mastery here. Her use of multiple materials, lush color, and the tension of opposites; the thin washes under built up mounds of paint and paper mache, the stark contrast of pale clotted creams, whites and golds with intense deep rose, wine reds, and black purples. She continues her exploration of various textures of fabric and glitter with the integration of organic materials pulled from the earth. An embodiment of memory, hand written words and thoughts, are repeated and distorted to the point of illegibility. These are works of the primal emotions, of passion and loss."
Zachary Keeting and Christopher Joy visit the studio of painter Paul Pagk.
Pagk comments: "The experience I'm going for is different than what happens when I'm painting them... I'm trying to get to a place I don't know ... then it can capture my attention... I don't want paintings to arrive at final ideas too fast."
Charley Peters reviews works by Callum Innes recently on view at Frith Street Gallery, London.
Peters writes: "In these works geometry, and in some ways painting itself, is a performance; a systematic process of structurally marking out pictorial space in which to frame areas of chaotic chemical intervention; each stain of pigment recording decisive moments when the surface of the canvas starts to liquefy and move. Innes has related the temporal nature of his paintings as having an affinity with photography, saying, 'There is a moment in time and space when a painting stops in much the same way that a camera’s shutter closes on a moment in time, this is not a static thing.' The recent Exposed Paintings at Frith Street Gallery certainly do appear as freeze-frames of work in constant progress."
Hunter Braithwaite interviews painter Dale McNeil, whose show Material Will: Force In Form is on view at Tops Gallery, Memphis through May 31, 2015.
McNeil comments: "A part of my painting process involves placing a step—a phase or transitional level—between the traditional applications of paint to canvas. I take impressions from paintings in process, propagating the next work and allowing organic growth to a similar image. This method introduces the next version or variation. The process is rather clumsy and inaccurate but allows for aspects of randomness and chance, countering the restrictions I set for myself and allowing for a new unique composition."
McNay writes: "As the artist put it: 'What I am searching for is neither the real nor the unreal, but the subconscious, the mystery of what is instinctive in the human race.' Modigliani’s figures therefore blend the life model or muse with the sculpture, the present with the past, the 2D with the 3D, the marble with the flesh. Without much recourse to shading, it is Modigliani’s exploitation of negative space that gives both weight and volume to his bodies – and this is the negative space both without and within the figures."
Julie L. Belcove interviews painter Cecily Brown whose work will be on view at Maccarone Gallery, New York through June 20, 2015.
Brown comments: "With the small ones ... I’d deliberately not get back from them and look, then at the end of the day be like, Whoa! It had become this very dense world, teeming with activity — a little like putting your face close to the grass and realizing all the activity. You see how much is going on in one square inch. I think, in these, I realized more than ever how important it is for me to have a definite figural thought in mind as I work. For me, when it gets purely abstract, it gets decorative. I need to have the sort of weight behind the mark that I’m trying to say something specific."
Susan Heywood reviews exhibitions by Josh Dorman (though May 16) & David Martin (through May 30) at John Martin Gallery, London.
Heywood writes of Dorman: "Precise and painstakingly drawn illustrations which predate the slick, glossy anonymity of photography feed the eclectic imagination of this American artist. Dorman’s pen and brush work has a delicacy and refinement that is perfectly attuned to his interest in the infinite variety of species across categories, which he presents in a wistful and nostalgic peep show."
Writing about Martin Heywood notes: "Willingness to experiment and a lively, open mind inspire Martin’s celebratory canvases which capture the essence of subjects from a humble table scape to the majestic, rolling contours of the Scottish countryside. His instinct for improvisation is reflected in his passion for jazz."
Melrod observes that the shows "showcased two savvy, LA painters who have chosen almost diametrically opposed paths to engage the medium, with all of its historical baggage; yet both showed glimmers of hope for the form’s continued relevance. Brad Eberhard ... [approaches] his medium with a winning blend of sincerity and whimsy... [Monique van Genderen's] efforts broach Big Questions as to the viability of the high modernist aesthetic."
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.