Pozanti remarks: "[early on] my practice was based on images that I would collect from the Internet. I was really engrossed in that culture of image collecting, collaging. But I realized that I couldn’t propose something new by appropriating things. I wanted to step away from the computer, because I was spending so much time in front of the screen, sitting there staring at something with dozens of tabs open. I decided to invent my own language, through abstraction."
Sharon Butler blogs about the exhibition Supports / Surfaces at CANADA Gallery, New York, presented with Galerie Bernard Ceysson, on view though July 20, 2014. The show features works by André-Pierre Arnal, Pierre Buraglio, Louis Cane, Mark Devade, Daniel Dezeuze, Noël Dolla, Jean-Michel Meurice, Bernard Pagés, Jean-Pierre Pincemin, Patrick Saytour, Claude Viallat.
Butler writes that "there is an undeniable aesthetic connection between S/S art made more than forty years ago and work being produced today. But the current approach, radical forty years ago, is no longer experimental, especially iconoclastic, or self-consciously polemical. Rather, it has become an established painterly language that subsumes the ideas and values pioneered by the S/S artists. That's a kind of progress... The resonant exhibition at CANADA is important not just because it shines a light on the subliminal influence the S/S movement has had on our contemporary aesthetic, but also because it reinforces the notion that abstract painting can be rooted in politics. As faux-smart abstraction becomes increasingly popular among collectors and speculators, this timely show shrewdly exhorts young artists to understand the historical and political significance of their decisions in the studio, their materials, and their techniques."
Betty Wood profiles painter Sean Scully on the occasion of his exhibition Kind of Red at Timothy Taylor Gallery, London, on view through July 12, 2014.
Commenting on completing his five-part painting Kind of Red (2013) in five days, Scully remarks "... if something’s right, it’s right. I don’t believe in corrections. I believe in the truth of doing something, and trying to see over time whether it works – I’m not interested in things being perfect.' This practicality leaves no room for nostalgia either: 'I don’t work with doubt – I make something simple, then I leave it..."
Dan Coombs considers the quality of "all-overness" in painting.
Coombs writes that "all-overness is a quality that can be drawn out of anything, a doodle, a stain, a meandering drip, the most quotidian black and white photograph, it has the effect of turning the image back into a question, like suspending an image into a state of ambiguity, or giving the simplest geometry a floating quality – even the zips in Barnett Newman’s zip paintings are themselves fields, held by the surrounding fields of colour. It turns the tables on meaning because it has the effect of effacing the particular meanings of the image and elevating the image into a state of contemplation, as though you are able to contemplate something without being implicated in it, without it looking back at you and imposing itself upon you... Painting doesn’t so much annihilate meaning as suspend it and this may be why painting is such an anathema to conservative, rational thinkers. Wasn’t it Adorno who defined conservative thinking as “intolerance of ambiguity”? Yet ambiguity is the condition that brings relief from all the meanings in the world, relief from ideology and rational delusions."
Kalm ntoes: "Franklin Evans has been receiving much critical attention for his blurring of painting, the studio and installation. Using the rubbish of his studio practice, particularly used masking tape and paint stained cloths, the artist fills the gallery top to bottom with colorful remnants, wall paintings and enlarged photos from previous installations, thereby presenting these projects as accumulations not only of materials, but also of memories."
Riley comments: “Increasingly I work at a technical distance. For me the work is not physical. It has to be made, of course. Facility is important but it can also be a terrible trap. Many painters who had great facility did nothing else. So I put it aside. I give my hands to someone else. It drove me into digging into myself to find out what it was that I should do, getting a dialogue going between me and what I was doing. Mondrian put it incredibly beautifully: ‘This is how I found this way of working.’ ”
Wullschlager's article also includes an excerpt from Bridget Riley’s collected writings titled The Eye’s Mind (Thames & Hudson).
Paul Behnke photo blogs a studio visit with painter Karen Schifano. An exhibition of Schifano's paintings and works on paper, curated by Emily Berger, will be on view at Melville House Gallery, Brooklyn, through September 19, 2014.
Behnke notes that "Schifano's minimal compositions, painted in a vivid palette, reveal sensitive, painterly touches when closely inspected. The work is confident and bold and the power derived from this stance contradicts delicate variations in what at first appears to be a solid color ground. The forthrightness of the work makes the discovery of a line barely visible or a feathered corner or edge that much more gratifying when discovered."
Alex Bacon interviews artist Sam Moyer on the occasion of her show More Weight at Rachel Uffner Gallery, New York, on view through June 22, 2014.
Moyer comments: " 'Actually I’m not,' [a process-based artist] because when I make my work I’m not thinking about how I want everyone to visualize me in my overalls dying this fabric outside. It’s not about that. When I hang the piece on the wall I’m not trying to get you to imagine me making it. I’m really trying to make the piece on the wall provide a surface that’s subjective, that you can bring your own stuff to... The action behind my work is referential to printmaking and photography, and that helps to see there is a process to it, but it’s not about my performance of the process..."
Lucy Mitchell-Innes discusses the exhibition of works by Jay DeFeo on view at Mitchell-Innes & Nash, New York through June 7, 2014.
Mitchell-Innes comments that in the works on view in the show DeFeo employs "the photographic process and process of development to produce painterly techniques… to make it feel like a painting. And that was part of the thinking in the whole exhibition was to be able to show how she could move back and forth between one medium and another and still be completely consistent with the imagery and process… that you could look at a work on paper or a painting or a photograph or a xerox and you could see the consistent vision of what she was trying to accomplish."
Nechvatal writes: "Michaux’s drawings from 1960 depict a sort of behind-the-scenes vibrating world, deep and dense enough that representation finds itself joined together in surreal suppositions. Non-logocentric works like these can perhaps direct us towards that capricious, vibrating zone, that always inaccessible arena, which dives down, beyond our gaze, towards the very velvety heart of things. Indeed it is this quivering semi-cohesion that maintains the sovereign and secret sway over each and every sign — this vibration — which I find interesting in Michaux. Something beyond reductive abstraction or glib representation. Something excessive, hybrid, semi-abstract."
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.