Bunker writes: "‘Slacker Art’, ‘Crapstraction’ and other manifestations of what might be called the provisional trend in painting/sculpture have been well and truly played to death in the last 10 years. Tuttle’s influence here is easy to see. But his best work has less to do with frustrating audience expectations, some notion of failure or theatrical nihilism, and more to do with exploring the inner logic of a work’s necessary development through the expressive potential of the most unexpected materials and use of colour and space. At his best he finds, in the given histories and conventions of painting and sculpture, a springboard into unfamiliar, poetic and psychologically charged territory."
James Kalm visits several painting exhibitions currently on view in Bushwick including: Abstraction and Its Discontents at Storefront Ten Eyck and Oskar Nilsson: Rehearsal at Interstate (both through November 23), and Andy Cross: Mirror Venus at SARDINE (through November 2).
Abstraction and Its Discontents features works by Benjamin Adelmann, Meg Atkinson, Jeffrey Bishop, Sharon Butler, Miriam Cabessa, Paul Campbell, Marc Cheetham, Paul Corio, Jeff Fichera, Matthew Gehring, Brian Guidry, Collin Hatton, Sara Jones, Jody Joyner, Maureen Meyer, Russell Perkins, Christopher Rose, Suzan Shutan, Tatiana Simonova and Andrew Small.
Julia Friedman blogs about Ed Moses: Cross-Section at the University of California Irvine University Art Gallery, on view through December 13, 2014.
Friedman writes: "Unlike many of his historical predecessors in the field of abstract painting... Moses ... whose prolific and protean output spans over five decades, delegates the exegesis of his abstract paintings to scholars and critics. Meanwhile, [he] carries on 'responding to the environment,' through manipulation of painterly materials."
Kurchanova writes: "Gaitonde studied both traditional techniques of Indian mural and miniature painting and modern European masters, such as Kandinsky, Picasso and Matisse. A mixture of influences and styles is evident in his work: the paintings done in the 50s reveal the strong influence of Paul Klee, with their distinct figures against an abstract background; and the ones created in the 60s and thereafter eschew the elements of figuration, leaving colour combinations and the flatness of the canvas to communicate with the viewer."
Panero writes that "Martin’s latest paintings are particularly indebted to the bold figure-ground dynamics of the Soho school. Certain motifs seem to come right out of recent work by Thornton Willis and other masters of the hard edge and the dissolving form. But then Martin funks them up." Doppler Shift, Panero notes is "a smart group show of what might be considered contemporary optical art ... [that] brings together many of those underappreciated artists who interest me most these days: Steven Baris, Rob de Oude, Gabriele Evertz, Enrico Gomez, Gilbert Hsiao, Stephen Maine, Don Voisine, and (upstairs in a related installation) Gary Petersen. " Miller, Parneo observes, "[doubles] down on the intensity of his painterly self-analysis, which might see him lay down dozens of thin layers of oil over a single image, microscopically shifting it through every pass."
Altoon Sultan blogs about the recent exhibition of works by James Bishop at David Zwirner Gallery, New York.
Sultan notes that Bishop's paintings "require long and careful attention. Their architectonic structure emerges slowly from the subtly brushed and pooled layers of paint." In Untitled (1980), she writes "you will see the exquisitely balanced color relationships, bringing a gentle light forward; the horizontal band is slightly brighter than the vertical, indicating a delicate shift in the space. The structure seems to be part of the canvas itself."
John Goodrich reviews John Walker: Recent Paintings at Alexandre Gallery, New York, on view through November 15, 2014.
Goodrich writes: "Few painters have expanded the original impulses of Abstract Expressionism in more directions than John Walker... But his biggest departure from 'classic Ab-Ex' may be his reliance on the perceived world. Although moodily abstracted, his images from the last decades have been consistently inspired by observations of the real. His urgent strokes and brooding color, moreover, reveal a certain discipline of form; their forces build in ways that create discrete, tangible presences in his paintings ... A minority of the marks are recognizable as objects, but all read as presences in the almost mystically deep and bright spaces. Though painted on humblest of supports, the colors and forms capture the primal experience of land meeting sky, and the artist seems to experience it anew each time."
Wren comments: "I have always liked the idea that in painting you can make space visible. It’s something that you just move through without thinking about in real life, but in painting, it can be an actual thing. It is a color. It is a feeling. I think of the space in my paintings as a tangible presence, as real of a thing as an object... My experience of nature is usually what makes me want to paint. Specific moments outdoors will spark something that I want to explore in paint. Sometimes that initial inspiration carries all the way through and sometimes it’s only a beginning point and the painting takes off in another direction. But it always feels important to have a connection to some sort of lived experience outside of the studio."
Sam Cornish, editor of Abstract Critical, the UK based website dedicated to abstract painting and sculpture, recently posted that the site will stop publication. This is sad news to anyone interested in abstract painting and sculpture. Since January 2011 the site has published thoughtful, long-form reviews, opinion pieces, and videos.
While quality content is crucial to the success of any site, a regular publishing cadence is also important. Abstract Critical had both, a fact which made me and many others regular visitors. While commenting has been integral to blogs since their inception, Abstract Critical cultivated an atmosphere conducive to debate. While they may not quite have achieved a Cedar Bar of the internet, they succeeded more than most blogs in fomenting discussion of all sorts, from the bitingly critical to friendly banter exchanged amongst frequent commenters.
Sam Cornish and Robin Greenwood are to be particularly commended for their efforts to make Abstract Critical a vital source of criticism and discussion around the topic of abstraction. Not only did both contribute a significant amount of writing to the site, but their efforts to spur conversation around the articles (no small task) was and is greatly appreciated.
Although no new content will be added, existing articles will remain online. The Abstract Critical Twitter account will also remain active and The Brancaster Chronicles, an ongoing series of transcribed studio visits, will also continue to be published as a new site.
Cornish’s last post to Abstract Critical featured some of his favorite articles from the site. Since Painters’ Table has featured many pieces from Abstract Critical I thought I would contribute fifteen recommendations of my own. This selection only scratches the surface of what is available at Abstract Critical, but any of the articles below constitutes an excellent launch point for perusing this resource.
Best wishes to the Abstract Critical team and thanks for a job well done.
"Despite the best efforts of our materialist society to rid the world of anything that can’t be quantified, measured and easily referenced, the belief that signs, symbols and images possess a special kind of power is still pervasive. Resnick’s paintings are suffused with this otherworldly magnetism, and nowhere is it more visible than in his many late works-on-paper... The crosses and ‘X’s that dominate these untitled and frenetic compositions are hard to make sense of. Appearances aside, they don’t feel like exercises in abstraction, but rather read like talismans, charms... 'Allegory and Insignia' is a long overdue celebration of the artist’s achievements and a vital dose of artistic integrity when it’s needed most."
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.