Carl Belz writes about the work of Susan Roth for an exhibition at at the Luther Brady Art Gallery, George Washington University, Washington D.C., on view from October 22 - January 30, 2015.
Belz notes that: "While painterly, color-oriented drawing is varied and plentiful throughout the pictures, drawing wrought by arm and hand with brushes or rags or sponges and occasionally even flung in skeins and streams, linear drawing is no less essential to their character. It first and last defines graphically the pictures’ framing edges, which in each case assume a unique configuration in response to the pictorial field they enclose--to what the artist calls their geography--and thus do they assert themselves as integral to each picture’s content. But equally significant is the drawing that accrues to the paintings’ internal fields, to the ridges and grooves and folds and furrows of the wrinkled and crumpled canvases, all of them insistently physical pictorial vectors, all of them humming with movement, yet none of them feeling willed by human agency, none feeling actually drawn with the urge to delight or describe--drawings’ usual jobs--but drawing instead that feels like a force of nature."
Megan Liu Kincheloe visits the studio of painter Daniel Herr.
Herr comments that "some of [the paintings] actually just start as a crude drawing of a figure, or a crude object, or a word, or I’ll have a picture I took some place to begin with as a compositional set piece. There’s kind of everything in every painting. It’s sort of absurd. I will start with an idea, and I’ll try forcing and forcing it, then I’ll just abandon it, and ride the wave to somewhere else. Ultimately, it becomes a different thing ... paint and the interaction between two wet colors has always been what I’ve been most interested in—the 'chord changes.' That said, I’m really into the way of thinking associated with collage—the randomness, the everyday, Dada, stream-of-consciousness, disorienting subject matter, and turning something on its head."
Morgan writes: "This highly original hard-edge painter and soft-edge draughtswoman has produced one of the more interesting exhibitions involving color, line, and form in the current enterprise of abstract painting. Her pictorial images, which are a compendium of layers of color involving time, intuition, and pressure from hand to surface, appear to have their own point of view rather than conforming to the current look of abstraction... Her color, light, and form emerge less from “self-critical” inquiry than from a rigorous intuition whereby nature is represented (and transformed) through a vertical topology, despite the fact that her paintings begin uniformly on a horizontal register."
James Kalm visits an exhibition of recent work by Chris Martin at Anton Kern Gallery, New York, on view through November 15, 2014.
Kalm notes that the show "presents recent works, many completed over the summer. Color is pitched to an almost harsh level, and various materials, like tin foil and glitter, are employed to challenge the viewer's accepted notions of 'good taste' and beauty."
From the press release: "Despite their immediate spectacle and immense scale ... the paintings exude a human grounded-ness that seems to stem directly from Martin’s connection to nature, rock & roll, street art, and a dedication to material experimentation... Chris Martin’s paintings prove to be masterfully ambidextrous; one is able to fully experience their presence from a great distance or up-close, indoors or outdoors, in a state of spiritual transcendence or casual play."
Zachary Keeting and Christopher Joy visit the studio of painter John L. Moore.
Writing about Moore's work in 2002, critic Lilly Wei noted: "New York artist John L. Moore continues to elaborate on his theme of mirrors and water in his recent paintings... There is an aspect of roughed-up Pop in his style, his sketchy, schematized imagery forcefully blunt, his painting technique spontaneous and expressive. Scaled to his height - Moore's signature format is 80 x 67" - his canvases contain enigmatic ovoid shapes he calls mirrors, floating on the surface as if on water. However, they are blank, reflecting whatever the viewer might bring to them. These mirrors can also be read as eyes or openings into the painting, holes in the fabric of illusion, personal and impersonal witnesses, implicating perception and events: how we see, what we see, if we see."
Diamond comments: "The line in art is the essential ingredient that inhabits my imagination. Forms can be branch-like, crazy-figurative hybrids, rocks, pillow-forms. Often they are unseen energy. The energy of the forms needs to inhabit a space, which as I've referred to above, gets worked in. There is a power-play between large and small forms. Forms reach toward one another, pull away from one another, or maintain a solitary distance... I want some of the forms to be safe, enclosed, and others to be looming, oppressive. This place I go in the last several years tends to be an invented landscape – I want the viewer and myself to be able to move into a realm. Landscape doesn't push back, like the world. It just is, in all it's generous independence, unlimited stature and fragility, minute animations, causes and effects."
Sharon Butler posts artist Helen O'Leary's ideas and influences behind her recent work on the occasion of The Geometry of Dirt, an exhibition of O'Leary's work Irish Arts Center, New York, on view from October 14 - January 5, 2014.
In an artist statement, O'Leary writes that her work "delves into my own history as a painter, rooting in the ruins and failures of my own studio for both subject matter and raw material. I have disassembled the wooden structures of previous paintings—the stretchers, panels, and frames—and have cut them back to rudimentary hand-built slabs of wood, glued and patched together, their history of being stapled, splashed with bits of paint, and stapled again to linen clearly evident. The residual marks on the frames, coupled with their internal organization, begin to form a constellation of densities, implying an idiomatic syntax of organic fluctuation where compact spaces coexist with the appearance of gaping holes where the rickety bridges have given way. Formal and structural concerns become inseparable, the slippery organization of their fluctuating grids showing a transparency both literal and historical. With both serenity and abandon, these structures imagine the possibility that painting might take root and find a place to press forward into fertile new terrain."
Micchelli writes that the show "features seven large pictures as well as numerous smaller ones, including more than a dozen compact oils made on discarded Bingo cards, which the artist found in the former grange hall that became his studio in Seal Point on the coast of Maine. Densely hung in the gallery’s living room-size main space, the large paintings, which are all seven feet tall and five and a half feet across, swarm you with their edgy, jagged energy... in “Raft,” ... the vertical stripes run from top to bottom, with two horizontal sets constrained within shield-like shapes on the left and right, calling to mind Walker’s fascination with Aboriginal and African art. In these two works, like all the paintings in the show, the color is acetic, the paint handling is pugnacious, and the surface is so gritty you can almost taste it."
Joanne Mattera photoblogs a walkthrough of Doppler Shift, a group show featuring 27 artists, curated by Mary Birmingham, Visual Arts Center of New Jersey, on view through January 18, 2015.
The press release notes that the "works in Doppler Shift explore the illusion of difference between two- and three-dimensional space... [The] exhibition examines the relationship of the viewer to the work of art by investigating how shifting perspectives alter the visual experience. As various factors change—the viewing distance, angle of vision, lighting conditions, duration of looking—forms and objects seem to shift between two and three dimensions, creating spatial ambiguities and visual disorientation. The interaction of color and line may prompt similar optical sensations, making stationary lines and forms appear to move."
Nicolaides writes that the show "includes works on canvas, drawings and books, with Galloway moving fluidly between different media. The canvases are oil and acrylic, inkjet prints, or some combination of both; the drawings layer collage, ink and gouache. Galloway has built out a low shelf to display three of the canvases and another purpose-built shelf shows the drawings. Interspersed among these drawings are books he has been making for a number of years. The works function together — a system — formed out of Galloway’s actions and use of material. The result is work that tantalizingly hovers between imagination and existence."
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.