Zachary Keeting and Christopher Joy visit the studio of painter Marina Adams.
Adams comments: "I don't like to dictate too much, I like to 'allow.' ... [in abstract art] you create a space for thought as opposed to dictating a thought... The work feeds itself; the work leads me along. So in that respect it's very different. There is work where people have an idea and then they fabricate it, and that's one way of working. This work is not produced in that way... I have ideas about things but I do also like to have the work inform me."
Ashley Garrett interviews artist Ann Craven, whose work is currently on view at Hannah Hofman Gallery, Los Angeles through December 20, 2014.
Asked about working in series, Craven comments: "... in a way for me it’s like how a poet revisits a poem, and then wants to change a certain word or a comma or a fluctuation in a sentence or something but then doesn’t. In a way I feel really lucky to be able to revisit something again and again and again, being each time that it’s different – it’s a different time, it’s a different place, it’s a different motion, it’s usually an attempt at all the same colors, although it’s always a different mixture but it’s very similar, and I want always to have that availability to go back and revisit and re-mix a certain color. But – everybody does this! I really feel that every artist, and everybody who is practicing things in terms of form, I feel that people revisit their ideas, you revisit your notions. I paint from life, like the moon, but each painting is done on the same 14 x 14 inch canvas, so I do have a system there – I have rules that I can break within the surface of the canvas."
Christopher Joy and Zachary Keeting visit the studio of painter Paul Behnke.
Asked about the pleasure inherent in the experience of pure color, Behnke comments: "I think of my color as more anxiety... color can serve as a segue into the work... the color makes them more accessible... an then ... when things settle down and you spend more time with the piece it starts to be a little grating." Expressing a preference for more traditional picture space versus an all-over approach to abstraction, Behnke notes: "I don't like a lot of chaos ... I want there to be important forms and then lesser forms, important colors and lesser colors. I want there to be that hierarchy in the imagery."
Larry Groff interviews painter Ann Lofquist whose work was recently on view at Craig Krull Gallery, Santa Monica.
Lofquist comments: "I think many of us have had the experience of a stab of joy and longing when looking at nature; I certainly have and I’m trying to recapture those moments in my paintings... the ever-changing subject is the great challenge of landscape painting. When painting outdoors I feel a manic urgency to absorb as much information as I can as quickly as possible — a kind of hyper-concentration — and I suppose this results in a kind of vitality in the painting. In the studio, freshness is not a big priority for me. I think of plein air paintings as having the “freshness of youth” while studio paintings can have a more mature kind of beauty born from slow consideration."
Nicole Rudick interviews artist Gladys Nilsson about her work, on view at Garth Greenan Gallery, New York, through December 6, 2014.
Nilsson comments: "Sometimes my people [in the works] know exactly what’s going on, and other times they’re just going along and suddenly they realize that there are little corner pockets that have some awfully strange stuff going on. When I’m playing with collage, I’m thinking about contrast and juxtaposing odd things. And because of the size of these particular pieces, I was able to find some bigger figures in my history books that I could cut up and play with. I might have a Greek sculpture sitting next to a Renoir figure or something like that. And it’s great when I can find a little bit that has the appropriate glance, look, direction. I love that. So I’m interested in building relationships between contrasting images and making it work visually. I start out with the big figures, and then I boil it down to smaller and smaller figures—tiny people who are doing silly stuff. It’s about getting the larger figures in place so that I can unleash these tiny people who are risqué and haughty."
Ashley Garrett interviews painter Lisa Sanditz about her work.
Sanditz comments: "Sometimes I make [the paintings] on location... And then I also sometimes work on the studies when I’m trying to figure out how to resolve something... Obviously memory and imagination are both a part of it –there are no faithful photographic renderings in the paintings, not that photographs are faithful either, but there's obviously a lot of interpretation and exaggeration in the work. So for example the drawings that I'm doing right now, the ones that are from here are done on location. I did them on location or I drew them in the studio right when I got back that day, so even if it was from memory it was very close to the experience. Then the drawings of the trees in St Louis are from photographs that my parents took with an iPhone, plus memory and kind of making it up even more than I do in other circumstances. So it's definitely kind of a big soup of all of those things. I’ll find images on the internet if it’s something that I can't really remember and I need to look up something again, but it's not just working from a picture online and then making a painting. Plenty of people do that, it's fine, but for me it's just a part of the process I guess. Lots of input, lots of output."
James Kalm visits Farrell Brickhouse: Recent Paintings at Life on Mars Gallery, Bushwick, Brooklyn, on view through December 7, 2014.
Kalm's video includes fantastic close-ups of Brickhouse's visceral paintings. He films the tour of the exhibition while talking to Brickhouse about his work. Asked what he finds appealing about working in oil, Brickhouse comments: "One of the beautiful things about oil paint is that you can take off as intelligently as you put on, where I found, mostly, acrylic is additive... it's kind of like the difference between video and film. Light passes through oil paint; it's such a sensous medium."
John Bunker, Anthony Smart, Anne Smart, Robin Greenwood, Sarah Greenwood, Alexandra Harley, Patrick Jones, Sam Cornish, Mark Skilton, Hilde Skilton, and Nick Moore visit the studio of painter Emyr Williams.
Alexandra Harley: The "passage of colour isn’t just pure. It may be a pure colour all the way through but the juxtapositions of the other colours around it are changing that colour immensely."
Anne Smart: "I know [Williams' paintings] are going to be about colour, but If I try to forget that, what comes out really strongly is how they make me feel… and I’m minded to think of a painting that relates to both of them: Monet’s 1860 “Women the Garden”, and what that does for me, and what I have always felt strongly about, is the light in it; and both these paintings articulate what light does, and I feel a strong presence of that light and what that sensation can give you spatially."
Robin Greenwood: "The elements in the painting are so much more demanding than one stripe next to another. I feel I’ve seen that sort of thing before – you know, beautifully coloured stripes… but here, I’ve never seen anything quite like this before."
Richard Benari interviews painter Daniel Levine about his monochrome paintings.
Levine comments: "I tend to work in groups, and also different applications. By groups I would mean the same paint - the titanium group by 'x' brand... the titanium group by 'y' brand... the titanium group by 'z' brand. Then there would be the zincs. There'd be many, many, many different types of whites. And then different mediums as well... In each session I ... generally work on one type of paint, one brand... but they're all individual pieces.. different scales, different surfaces, different applications, different tones, different depths of the the canvas, so [it's] a narrative, jumping from one to the next to the next."
Asked about abandoning paintings Morris replies: "I try not to. Instead, I will turn a painting around to face the wall and wait on it. I am actually waiting on myself to catch up to the painting. I can erase things, but I need to decide to do that immediately, to really remove it and its trace. I want to be careful though, because every time you do something new and weird, the gut reaction can be to decide it’s not good. It is the “shock of the new” element. So, instead, if it’s really weird, I will try to leave it. I leave a lot of stuff that makes me uncomfortable. There is something exciting about making a choice and having to stick with it. I think that painting is all about this idea of regrouping. How do you incorporate your mistakes or your failures? It is endemic to painting: learning to live with those experiences, or engaging your process to figure out what is working. It is shifting all the time. I love the feeling of potential – of not knowing what I’m going to do, how to solve the problem, how it’s going to turn out."
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.