In a new installment of the Brancaster Chronicles, Anthony Smart, Anne Smart, Robin Greenwood, Sarah Greenwood, John Bunker, Alexandra Harley, Patrick Jones, Helga Joergens-Lendrum, David Lendrum, Mark Skilton, Hilde Skilton, and Noela James discuss a group of recent works by painter John Pollard.
In a new video by Molly Davies, Pat Steir discusses her work while painting in her Vermont studio.
Steir addresses both her use of the drip as image:
"The idea of pouring the paint of the waterfall paintings was to use the icon of abstract painting, which is a drippy brushstroke, and make that abstract icon make an image all by itself. And that's what it did, it made an image of the waterfall... "
and painting as performance:
"The performative aspect, especially of the splash up paintings, is extreme. It's really a dance. It's really a ballet. And the picture is the record of the movement. It's a direct record of the movement."
Browing comments: "There is never a plan or study for a piece in the beginning. That is just not a system that works for me. I’ve tried it, but I quickly realized that intuition, instinct, accident—whatever you want to call it—is the main driver of my work and the only way I get a piece that is “successful” to my eye. So for me, it’s pretty much the classic Abstract Expressionist approach: 'Make a mark, respond to that mark, etcetera.' So I would say at least 75 percent of each painting is made by trusting my gut and putting down colors and marks without really thinking them through. The other 25 percent of the process is where I will let a layer sit for a while and just look at it over a period of days, plotting my next move. That calculated choice may or may not remain in the final piece, but it is still an important part of the process. So in the end, the painting contains a cumulative effect of thoughtful decisions and purely felt acts."
Paul Behnke photo blogs a studio visit with painter Richard Timperio whose work is on view at Andre Zarre Gallery, New York through May 9, 2015.
Behnke notes: "Timperio's bold color and interlocking forms lay the groundwork for the paintings' formal concerns and create a backdrop for primed canvas outlines, imperfections in the surface, and scumbled whites. These elements work together with the newly found solidity of some forms to illicit a certain transcendent excitement."
Mark Skilton, Hilde Skilton, John Bunker, Nick Moore, Sam Cornish, Robin Greenwood, Sarah Greenwood, Anne Smart, Anthony Smart, Ben Wiedel- Kaufmann, Noela James, and Emyr Williams visit the studio of painter Patrick Jones.
Jones introduces the work noting that "the paintings, to me, are to do with the fact that I work very, very thinly, on bare canvas. I don’t prime them at all, and I work with stained, thin acrylic paint ... I’ve always used acrylic, and I was brought up with it and I like it. It’s inert, and it’s not something I have to mess about with a lot to get it to do what I want. But that’s what I see the problem with the painting as being. Trying to work with virtually nothing on the canvas until the weave is filled, and then it changes. It’s a technical problem; it’s how to keep a painting varied and lively and interesting on that surface... it’s HOW to paint is the most difficult problem."
John Goodrich reviews In the Studio: Paintings, curated by John Elderfield, at Gagosian Gallery, New York, on view through April 18, 2015.
Goodrich writes: "In the Studio may be a rambling journey, but as [curator John] Elderfield writes, it’s intended not as a survey but as a speculative 'essay on the history of studio painting.' It gratifies as such, its thesis illuminated by major and lesser works alike. One could, however, draw a different argument from the selection of work — that what it really illuminates is the enduring powers of great painting in all its guises. 'Artistic greatness' may sound quaint in 2015, but how else to describe the one-in-a-million eloquence, courage, generosity, and curiosity expressed in painting’s most basic elements? "
Zachary Keeting and Christopher Joy visit the studio of artist Donald Baechler.
Baechler comments: "I don't see [the work] as happy or upbeat... I think of [the objects in the paintings] as very isolated... the isolated ice cream cone, for me it's a kind of melancholy thing, it's not really a happy thing. In some sense it's a surrogate for a self portrait ... and I think the flowers are as well, it's the lone individual in the universe."
Jan Dalley visits the studio of painter Gillian Ayres whose show New Paintings and Prints will be on view at Alan Cristea Gallery, London, from April 13 - May 30, 2015.
In the interview Ayres comments: "To me painting is a visual thing. I find this terribly important... People like to understand and I wish they wouldn't. I wish they'd just look; it's visual. I'd go further - I don't want this sort of understanding. There is no understanding."
Christopher Joy and Zachary Keeting visit the studio of painter Fran O'Neill.
Thomas Micchelli, writing about O'neill's work for her recent show at Life on Mars, observes that “O’Neill’s art is something you take in with your whole body… [her] blunt, tough-minded, ecstatically convulsive oil paintings are endlessly revealing: pigment and binder, solvent and surface fuse and split, continuously reconfigured under the constant pressure of the artist’s agitated eye and restless hand. The colors cling to the picture plane even as the translucent fields they inhabit unfurl to reveal the depths of space churning below.”
Anna Heyward reviews In the Studio: Paintings, curated by John Elderfield, at Gagosian Gallery, New York, on view through April 18, 2015. The show features paintings of the artist's studio by Wilhelm Bendz, Honoré Daumier, Thomas Eakins, Lucian Freud, Jean-Léon Gérôme, William Hogarth, Matisse, Picasso, Constantin Brancusi, Alberto Giacometti, Louis Moeller, Alfred Stevens, James Ensor, Jacek Malczewski, Diego Rivera, Jean-Baptiste-Siméon Chardin, Carl Gustav Carus, Adolph von Menzel, Jim Dine, Philip Guston, Jasper Johns, Richard Diebenkorn, Helen Frankenthaler, Roy Lichtenstein, Robert Rauschenberg, Larry Rivers, Jacek Malczewski.
Heyward writes: "There is an Eakins from Philadelphia, a Freud from Tate London, and Diego Rivera’s The Painter’s Studio or Lucila and the Judas Dolls, which has never been shown in the United States before and is on loan from a collection in Mexico City... The show’s works range from early pictures of artists at easels, such as a Hogarth from London’s National Portrait Gallery, to the abstraction of high modernism (two Picassos), to the studio walls of Lichtenstein and Diebenkorn."
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.