Alexander writes: "One of the most striking aspects of Deininger's work is her sensitivity to the nuances of her materials -- her ability to achieve a wonderful variety of surface and edge within a highly reduced vocabulary. She does this with utmost subtlety, employing soft color contrasts, and shapes and lines that both adhere to and slide away from the grid."
David Carbone makes a connection between a recent experience viewing paintings by Andrew Forge (at Betty Cuningham Gallery) and past experiences listening to compositions by Morton Feldman.
Carbone concludes: "Both Feldman’s and Forge’s works achieve lucid-dream states. In my experience, it was the especially large scale, whether spatial or durational, that produced profoundly transporting totalities. The disquieting mood for Feldman had 'to do with instrumental images,' whereas the indistinct inner worlds in Forge rely on the diffusion of color into unnamable but apprehensible feeling."
Andy Parkinson blogs about several works at Summer Mix at Turps Banana Gallery, on view through August 15, 2015. The show features works by Jessie Browne, Rose Davey, Carlos David, Dan Davis, Matthew Draper, Stuart Elliot, Louise Evans, James Fisher, Kirsten Glass, Kate Groobey, Lewis Henderson, Sam Herbert, Günther Herbst, Reece Jones, Richard Kirwan, Hannah Knox. Rachel Levitas, Wendy McLean, Mali Morris, Andy Parkinson, Katie Pratt, Dan Roach, David Ryan, Kate Shepherd, Marianne Shorten, Damian Taylor, Alaena Turner, Joan Waltemath, Simon Willems, Mela Yerka, Neil Zakiewicz.
Painter Barbara Campbell Thomas reflects on ten works of art that from her recent trip to Italy.
Introducing the images (of works by Sasetta, Morandi, Inji Efflatoun, Marlene Dumas and others) Thomas writes: "I came to Italy to draw and think, but also to locate an abstract painter’s alternate art history, one perfectly contoured to the needs of my own studio practice. Traversing centuries with ease and finding unexpected sustenance in viewing the conversant nature of contemplative space in paintings, mosaics, and performance art, I charted an entirely subjective course through the Italian cities of Siena, Bologna, Ravenna and Venice."
Tamar Zinn blogs about works by Stanley Whitney at Karma Gallery, New York.
Zinn observes that: "By examining Whitney's studies, you see him explore how the rows communicate, how forms variously open up across a row or elbow tightly together. You see him grappling with space, color, and with the tension between line and color. Rapidly executed studies make visible the many permutations that are possible within a given framework and ultimately allow us to leap (or slowly step) to a new place. The scope of Whitney's studies reveal the diligence and concentration of a mind and hand always at work, continuously exploring and questioning step-by-step, asking why this and not that?"
Bunker writes: "... the ‘Black Pourings’ that are the throbbing dark heart of this exhibition. Crude materiality and brooding imagery seems to be answering something very different but equally ‘… deep seated in contemporary sensibility.’ Pollock’s ‘gothic- ness’ that had always disturbed Greenberg re-emerges to assert its power. But these black works have gained some kind of momentum, some new kind of febrile and focused intensity. They seem to be an attempt at extreme synthesis rather than meticulous refinement; a synthesis of personal obsessive renderings of the fragmented body, that had always lay hidden in the ‘all-over’ works, combined with, and intensified by, the technical innovations he had made while working upon the drip-based paintings."
Butler writes that Krushenick "is best known for fusing popular culture with non-objective abstraction. The result is an aggressive, eye-popping style, full of bold line, highly saturated color, and visual ambiguity... Anticipating the bold patterns of Marimekko fabrics and 1970s super-graphics, the surfaces are so uninflected they seem printed rather than handmade. Although Krushenick’s work from the 1960s is defiantly non-objective, it is rife with spatial illusions and their contradictions that burst off the canvas."
Chris Lowrance, Jennifer Wiggs, and Chris Fletcher discuss Sharon Patten: An Independent Vision at the The Daum Museum of Contemporary Art, Missouri, on view through August 30, 2015.
Chris Lowrance introduces Patten's work, writing: "Patten’s paint is heavy, applied with a knife and so thick that the paintings frequently look different up close than from a distance. Figure and ground relationships that seem insistent from 10 feet away dissolve when the viewer moves in for a closer look. An outline can be literally obscured by a passage of impasto. And for all the physicality of the paintings, the role of design seems critical to the experience of these paintings. As does the role of metaphor. Patten herself was clear about the importance of metaphor in her work. It’s discussed in a quote from the artist posted on the gallery wall, and in titles of many of the paintings: 'Concurrence', 'Experience', 'Aplomb', 'Success', etc. For Patten abstraction was a form and a behavior."
Tom Emery reviews Real Painting at at Castlefield Gallery, Manchester, on view through August 2, 2015. The show features works by Simon Callery, Adriano Costa, Deb Covell, Angela de la Cruz, Lydia Gifford, David Goerk, Alexis Harding, Jo McGonigal, DJ Simpson, and Finbar Ward.
Emery writes that the show questions "20th century modes of thinking about painting - where an image is representative of something, even when it is ostensibly abstract - and it is this mode of thinking that Covell and McGonigal seek to redress. In their own words, this exhibition does not consider 'what a painting means, but what it "does"'. This is an exhibition of paintings that exist on their own terms, for their own sake, works that provide a physical presence and don’t just passively sit on a wall to be admired."
Hands concludes: "Bridget Riley’s abstract art is clearly modernist, but notwithstanding her traditional training as a painter (she still produces cartoons for her paintings), her work successfully combines a strongly characteristic feature of line through disegno (drawing) with form as colore (colour) to attain a synoptic temporality: intimating a psychogeographic relationship with space through physical positioning and perception; and a sense of time and rhythm integrated in and through the intrinsic properties of the images. The association of colour and line, especially the curve, is sensuous at a visual and an intellectual level. If this interpretation is correct, it might suggest that a purely non-objective abstraction is a fanciful notion – because contingency is unavoidable, so long as human beings continue to make art."
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.