Christopher Joy and Zachary Keeting visit the studio of painter Matt Phillips.
Asked about the interaction between the image and support edge, Phillips comments: "I like that the image itself is a form... as you start to make the painting, you're given the rectangle, but that it doesn't necessarily have to live withing that arbitrary shape. It also comes out of an interest in quilts and textiles where you have these image/objects but... the object itself when you put it on the wall is contending with real gravity. So, I think about how would this thing feel on its own outside the rectangle, how does the image droop and sag even though it's rooted in a hard-line geometric sensibility."
James Kalm visits the exhibition Richard Timperio: Color Me Gone at Janet Kurnatowski Gallery, Brooklyn, on view through December 22, 2013.
Kalm notes that "As a fan of 'Car Culture,' and classic Rock-n-Roll, Timperio's paintings have all the punch of a top fuel dragster, or the amplified urgency of a three cord riff. Using watered-down acrylic on paper and unprimed canvas, Timperio states his painting practice is 'like a performance,' where the artist has to get it right in 'one shot'." In a statement to accompany the show, Timperio says: "My desire is to saturate the canvas with intense color engaging in a dialog between the large geometric shapes, color, and blurred and clean edges. Given the simplicity of these elements and directness of the execution creates an image that can be read immediately. What you experience resonates as something much larger than the physical canvas. You are immersed in this explosion of Color!! One huge single sound ‘The Big Note’ a ‘Sonic Boom’."
In a new video produced on the occasion of his exhibition London Landscapes, painter Leon Kossoff discusses his work and approach to painting. The artist remarks that the experience of painting is:
"all about space and movement and light, and every time you look you see something different, you experience some thing different... In the end all the differences amount to a sort of presence. For me it's a process of going on drawing, just going on drawing until something happens, and then you realize that you can start painting... not being able to do it is part of being able to do it..."
Bogat reamrks that in her works "I try to do things I've never seen before... just let your unconsious roam. I love the freedom of my unconscious..." Commenting on working productively in isolation for many years, Bogat notes: "I was very isolated, nobody ever came to see my work... I knew everybody but nobody ever showed any interest in me... I think it's very good... to grow up being ignored. It gives you the freedom to find out who you are and push into the future instead of trying to 'make it.""
Discussing plein-air painting in the film's trailer, George comments: "You can only suggest how it might be - 'it looks something like this' - to the best of my ability. When I come from London to the country, I'm always amazed at the amount of foliage, the number of leaves. In the country, in this bit of country anyway, there's always something in the way. You never get a clear view. Rather beautiful things come waving along. If they aren't in there to start with, they get themselves in there sooner or later."
Kalm notes: "With 'The New York Years 1960-1970' viewers will have a chance to see a major portion of [Bogat's] production, and decide for themselves it's aesthetic and innovative merits. From the last paragraph of Stephen Westfall's catalogue essay. 'The magical decade documented here offers a glimpse of a level of invention that few artists are fortunate enough to sustain for any length of time in there careers. The fact that she was able to accomplish this while becoming a mother and being married to a much more famous artist is nothing short of astonishing.' "
Kalm notes that: "Representing a confluence of restrained classic figuration and Surrealistic erotic narrative, Balthus looms as a painterly enigma over the second half of twentieth century art. This exhibition presents works that were painted in France between the mid 1930s and 1960, and focuses on the repeated theme of 'Cats and Girls.' A series of ink drawing created when the artist was only eleven years old, and thought lost, are also presented."
Christopher Joy and Zachary Keeting visit the studio of painter Stephen Maine.
Discussing his relationship to the image in his paintings, Maine comments: "My effort is to try to control the contact of the material to the surface of the panel or the canvas in such a way the reading of it remains very open." He continues, commenting on his process: "The way that I have avoided composition is to paint in such a way so that the entire surface is physically addressed at the same time all at once. It's like stamping out a coin... It's been interestng to gain a kind of mastery in this... and then to try and forget that and let the machine, let the process... make a result for you in lieu of decisions."
James Kalm visits the exhibition Chuck Webster: Blessing at Betty Cuningham Gallery, New York, on view through October 12, 2013.
Kalm notes: "These impressive pieces bare testament to a new freedom and casual approach to materials, color and surface. Many of the works were inspired by a recent visit to the Rothko Chapel in Texas." From the gallery press release: "The surfaces are... activated by heavy brushwork, incidental markings and taut delineation... The chapel became a metaphor for his own interior space and the chapel’s octagonal footprint is the form in and entry to several of the paintings in this exhibition."
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.