Piri Halasz reviews works by Al Loving at Garth Greenan Gallery, New York, on view through June 27, 2015.
Halasz writes that Loving's "mixed media collages are magisterially composed of almost incredibly intricate cut-out spirals, strips, diagrammatically outlined boxes, curlicues and other geometric flourishes. Everything is soldered together and elegantly colored, with multiple hues that range from the subtle to the rowdy. All these shapes and colors are further glorified by bits of glitter and overlays of shiny lacquer... the eye is challenged by how these works are mounted—or, to be more accurate, not mounted at all. They don’t have conventional matting under them, let alone glass to cover them or frames to surround them: instead they simply cling flatly, simply, innocuously to the wall."
A. Zlotowitz reviews Rosy Keyser: The Hell Bitch at Maccarone Gallery, New York, on view through June 6, 2015.
Zlotowitz writes that in her recent work, Keyser "continues the discourse of painterly reduction. While breaking away from the traditional frame, Keyser’s works allow for viewers to consider definitions of empathy, profanity and form through her patchwork assemblages, fixed to the classic signifier of the canvas stretcher... Keyser’s works here hold great reminiscence to the combines of Robert Rauschenberg with hints of Thornton Dial, and her often appropriated, mixed media techniques force each of her paintings to fill their surfaces (or at least what exists of them) with feeling and movement."
Mark Stone blogs about two painting exhibitions on view in Venice Sean Scully: Land Sea curated by Danilo Eccher at Palazzo Falier (through November 22) and Peter Doig at Palazzetto Tito.
Stone writes: "Scully’s newer works have gotten much looser, the paint handling is more offhand, drippier, the compositions have opened up and become less structured. The predominant color in these works is an ultramarine blue that occasionally gets lightened, muddied or blurred with acidy yellows or workman reds, dropping the primaries into secondaries and/or tertiaries. In these landscape-y blue works there is a broader swing from dark to light, the stripes open up while the paintings remain more monochromatic. ... Doig’s color is hearty in blocks and stretches, the figuration is respectfully abstracted following Diebenkorn’s and Hockney’s examples, and there’s a bit of Surreal spectacle and art historical play in them. This is Postmodernism done well, and when it works as it does here, it can be pleasing."
Oliva Laing profiles painter Agnes Martin. An exhibition of Martin's work will be on view at Tate Modern from June 3 – October 11, 2015.
Laing begins "Art must derive from inspiration, Agnes Martin said, and yet for decades she painted what seems at first glance to be the same thing over and over again, the same core structure subject to infinitely subtle variations. A grid: a set of horizontal and vertical lines drawn meticulously with a ruler and pencil on canvases six feet high and six feet wide. They came, these restrained, reserved, exquisite paintings, as visions, for which she would wait sometimes for weeks on end, rocking in her chair, steadying herself for a glimpse of the minute image that she would paint next. 'I paint with my back to the world,' she declared, and what she wanted to catch in her rigorous nets was not material existence, the Earth and its myriad forms, but rather the abstract glories of being: joy, beauty, innocence; happiness itself."
Micchelli writes: "Despite the recognizable humans, birds and animals floating in and out of Schwartz’s canvases, Morgan argues that her work is more strongly connected to Abstract Expressionism than to a likelier source, the figurative imagery of 1980s Neo-Expressionism. Compared with the latter, which 'was primarily generated in Europe' and 'contained a cynical edge,' Schwartz’s practice is guileless, open and instinctual... Whatever the image, it speaks the language of paint — no symbols are assigned, and meaning is recognized (as in the psychoanalyst Julia Kristeva’s notion of intertextuality) as outside of the author’s control."
Mills writes that "Jensen’s work communicates something profound about the union of spirit and physical being. He addresses the heart of humanity in his process and reminds us how to stay in touch with ourselves in a society which encourages indulging in superficial pursuits and distractions. It’s a prayer."
Lily Kuonen reviews Jered Sprecher: The Hollow That Echoes at Gallery Protocol, Gainesville, Florida, on view through May 29, 2015.
Kuonen writes: "... just as a coherent string of words creates a sentence, or several clicks creates data tracking, an assortment of visual qualities or even strategic marks can be combined to produce an image. This would imply that a similar logical or systematic approach could be used to produce paintings, but that these paintings will be subject to glitches or corruption — as are digital images, files, and even popular phrases. Is there a way to resist this degradation? Jered Sprecher’s paintings seem to employ a form of camouflage as protection. By creating the appearance of inconsistencies, anomalies, and prefabricated layers of irregularity, they dissimulate the process of generation loss."
Tome writes: "As one walked through gallery, one witnessed an artist—self taught, remarkably—inventing her own forms and paying homage to her forbearers, all the while conscious of her own status as a woman painter coming up in the male dominated art world of New York in the 60s, 70s, and 80s. On the whole, this show made one think about what it means for a woman of Haynes’s generation to be an abstract painter, and further, to be a contemporary painter ever-concerned with the use and depiction of light in painting."
Goodrich writes that "the installation handsomely pairs [Berding's paintings] according to their internal dynamics. The diagonals emerging from the background tapestry of brushstrokes in one canvas mirror the angles in another; the somewhat centripetal rhythms of a third echo those of its neighbor. Viewing them together, one gets a strong sense of a distinct temperament. The reworked surfaces suggest a wry, hard-fought romanticism, less about singular expressions than about the sheer eternal struggle with material paint"
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.