MacAdam writes: "Reed’s work has always been marked by a peculiar lushness manifesting itself in ribbons of variegated color unfolding at a seductive pace. The baroque forms often intertwine in dense configurations against flat solid-tone photo-like backgrounds. Here, though, we have a deconstruction, the parts disassembled and given star turns, and a strong sense of self-consciousness prevails. This is truly art about art, yielding a kind of biography, or the painting’s autobiography, and it includes Reed’s entire painterly history."
Rob Colvin reviews Serge Poliakoff at Cheim & Read, New York, on view through April 30, 2016.
Colvin writes: "Why the artist fell of the map isn’t as clear as why he’s getting put back on it. Poliakoff’s ability to fracture and mend space, illuminate flat planes, and structure abstract forms into a figural unity is as instructive to contemporary painting as it is awakening to witness."
Addison Parks considers the paintings of Etel Adnan.
Parks writes: "When left to one's own devices the focus is where it belongs, on the world around us, on the wonder around us. Klee, Dove, Frankenthaler, Avery, and Adnan, this is what they have in common. This simplicity. This clarity. This integrity. This center. This heart. This inner light."
James Kalm visits the exhibition Nathlie Provosty: (the third ear) at Nathlie Karg Gallery, New York, on view through May 8, 2016. In addition to a walk-through of the show, Kalm talks with Provosty about the work.
The gallery press release notes that "the exhibition plumbs the phenomenon of visual inaudible sound. Inaudible sound is sound that humans physically respond to, although they cannot hear it. Provosty proposes that this inaudible territory parallels the unseeable areas just outside the color spectrum. Her paintings therefore utilize colors at the far reaches of the spectrum, coupled with surfaces that vibrate and disappear, activating an expanded multi-sensory experience." Provosty expands on this notion, commenting: "Even thought they're paintings, I think of them as moving images, and in that way much more related to film or sculpture..."
Jeffrey Grunthaner writes about John Havens Thornton: A Survey of Paintings Spanning 50 years, 1964-2014 at Amstel Gallery New York inside The Yard, Flatiron. The show, curated by Laetitia Lina and Gregory de la Haba is on view through May 30, 2016.
Grunthaner writes: "Thornton's paintings, however reductive, are not minimalist... Thornton paints "transcendence" in two senses: as what is non-subjective, and as the limits of intellection—the unknown that becomes known while still remaining unknown. His work has more in common with Forrest Bess and Hilma af Klint than with [classmate] Frank Stella... [Thornton's] brick-like fields of color blur at the edges, as though rippling with some elusive secret."
Scott Robinson reviews The Moon and Serpent at Orgy Park, Brooklyn, New York, on view through April 17, 2016.
Robinson writes: "The Moon and Serpent at Orgy Park is a show that lingers from the past when you’re quiet. Ashley Garrett, Emily K. Davidson, and Mike Olin present a show about personal and collective memory... The paintings in [the show] approach the concept of memory from complimentary angles. The show is at its best when you can spend time with it to let the pieces open up and speak to one another. It’s full of moments that trigger the past, mumble behind you, or float by on the street."
Seamen notes that the "difficulty translating the visual into verbal is not just an indicator of the paintings’ complexity. Stephen Greene was a figurative artist until the mid 1950s, and in these works he seems not only to have rejected external referents but even the most basic narrative, such as the progression of the paint as it was applied to the canvas, or a coherent sense of cause and effect in the interaction of the elements. While never feeling arbitrary, the forms seem to simply appear in the paintings, each a universe in itself..."
Tim Keane reviews Jake Berthot: in Color at Betty Cuningham Gallery, New York, on view through April 23, 2016.
Keane writes: "We could call these works action paintings for prolonged meditation. For Berthot, like the poet Wallace Stevens, planes of aesthetic knowledge — such as origination, composition, cohesion, rumination — should be art’s primary subjects, with the artwork serving as experience. And though these aesthetic dimensions of knowledge are distinct, in Berthot’s work they often overlap... Berthot’s paintings are confident diagrams that map shifting relationships between our seemingly limitless human capacity for reinvention and the finite properties of the natural world."
Quilter notes "When Hartigan had used oil paint in the 1950s in New York her ideas about colour were articulated by the texture of the paint and her brushstrokes. You couldn’t speak of a white or red without noticing her application of it, and the emotion was in the effort; there is often the sense you are looking at the traces of a fight. In Baltimore, Hartigan started to experiment with washes of watercolour, and black outlines. The effect seemed effortless, even casual. The colours glow, more gas than solid ... Hartigan’s pleasure in perceiving colour, shape and line. Her love of Matisse is obvious. "
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.