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."
Christopher Joy and Zachary Keeting visit the studio of artist Rachael Gorchov.
Gorchov comments: "These are paintings... The objects, for me, are in service to the image... I call them sculptural paintings; they come out of the wall, they enter your physical space. To me, the way they enter the physical space is meant to direct your experience of the image."
Zachary Keeting and Christopher Joy visit the studio of painter Erika Ranee.
Responding to Joy's observation that "total extremes... seem at play in each work... every painting has its own distinct voice," Ranee comments that "each painting is its own little torture... a new challenge, a new approach to using these materials that are in opposition to each other... straight-edge/biomorphic... the gloss and the flat, the thick and the thin, the immediate and the more deliberate and slow. It's always in each painting." Ranee continues, commenting: "I'm loud on canvas. I need a certain dynamic - a 'pow' feeling with the paint."
An new video documents painter Rackstraw Downes painting on site in Presidio, Texas.
Speaking about his attraction to the area Downes comments: "I'm interested in landscape where people have acted upon it. I grew up in a landscape like that. England is very lived upon... The American romance with the untouched landscape is foreign to me. It never exactly hit me, and I like the landscape that has been modified. It's ok, people aren't so bad and they go in there and they do these things and some of these things are rather wonderful. This is one of those places to me."
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.