Hollingsworth comments: "My efforts toward the fullest dimension of intellectuality in art is to read widely and try to learn as much as I can about different things. But I don’t want to express ideas in a linear way in my work. What I try to do is absorb them and try to sweat them out. I don’t want them to come out in a dumbed down in a merchandized kind of way. I want content to come out of my pores. I want to incorporate them deeply."
Malone writes: "There is a depth of understanding and clear evidence of a living interaction with painting’s history in this work — a hard-won quality that can only come from eye and hand working in tandem... They display a robust spontaneity spread across what seems at first like the infamous Greenbergian surface. But, stepping inside each painting’s optimum viewing distance, which I found to be about six to eight feet away, one discovers a spatial depth that gives way to barely implied landscape and figurative elements lurking in the open mesh of color. From a surface built of acrylic strokes on raw canvas never thicker than an inch or so, shapes and forms tease their way through the dense field without separating their tenuous bond to the picture plane."
James Kalm visits an exhibition of works by Lori Ellison at McKenzie Fine Art, New York, on view through February 16, 2014.
Kalm notes that Ellison "peruses her painting with an obsessive devotion to repeated pattern and compact picture plane design... Reducing most pictures to shades of one color, and simple binary motifs, through hand made distortions Ellison nonetheless creates illusions of warped space and billowing surfaces."
Blog post featuring a video about painter Annie Lapin, posted on the occasion of her exhibition Various Peep Shows at Honor Fraser, Los Angeles, on view through February 22, 2014.
The gallery press release states: "Quick, confident brush strokes appear to rest lightly on the surface of the canvas, operating as pure mark making until the slow burn of an image makes its way to the eye. Loose paint-handling and thin washes of color plot out strange architectures through which implausible landscapes peek at the viewer. Layers of imagery, rows of spray painted lettering, and thick areas of paint seem to float at various layers in relation to each other, creating an odd spatiality. While window like vistas allow the eye to escape to deeper horizons, the shallow relief space that parallels the surface of her canvases serves as a stage for a re-enactment the work's production; choreographed pours, stains, smears and drips act as both deconstructive and constructive moments."
Leduc wrtites: "Sillman reinvigorates a beloved painterly mode by shrugging off its baggage. Her wit disarms expectations, allowing her to explore modernist form in a contemporary manner, invention flowing seemingly unfiltered from an endlessly turning mind and hand... A group of abstract works, based in part upon drawings done of couples together, possesses a concentration and balance not always present in the stream of painterly consciousness that marks her other canvases. In C, the deliberate building of lines and shapes of color out of thick, steady paint application provide a rhythm that grows to feel inevitable and necessary. The points of intersection or contrasting trajectories of the geometries that create a sensitive interplay. They contrast with the roughness of her forms. There’s a hesitating delicacy built upon a structural solidity that reminds one of Richard Diebenkorn."
McKenzine writes: "In each work, [Jingjing] confronts a metaphysical void; in each, the mental preparation for the work is often significantly longer than the time required to complete the actual work. She pays homage to the long classical tradition in Chinese culture of painting and poetry, both of which are underpinned by calligraphy. Calligraphy informs the very physicality of each painted gesture: her images are often created as if by a form of repetitive writing, which allude to time and space."
Paul Behnke photoblogs a visit to the studio of Alex Paik.
Behnke notes that "Paik's small, delicate, abstract compositions of paper, gouache, and colored pencil provide complex visual experiences form humble means." Paik writes of his work: "The work reflects my love of contrapuntal music, imitating the way that the theme of a fugue is repeated, turned upside-down, and folded into itself. There is a sweetness about the work in the twee color palette and the toy-sized scale, but at the same time a fuck-all swagger in the laughably lo-fi paint handling and angular, chopped up forms."
Micchelli writes: "The thickly painted, brightly buzzing circles, rectangles and trapezoids in Analogue Future — which includes conventionally rectilinear canvases as well as several tondos — derive from the 8-bit graphics of primitive computer programs and video games... While the works in this show, at first glance, come off as paint-as-paint, the longer you look at them, the more their evocation of memory and lost time deepens their impression, even if you are unaware of their origins. I would even go so far as to say that their origins serve to validate their repetitive elements, since one of the primary pleasures of play is in its repetition: starting anew, following the rules, reaching a foreseeable conclusion."
Butler writes that the show features Kent's "buoyant silkscreen prints ... generated from the quirky shapes of unfolded cardboard boxes... I particularly liked 'Blue Nose' for the off-kilter stacking, scalloped line, and central blue painterly swirl that reminds me of Robert Mitchum's world-weary eyes--it seems to be watching us."
Altoon Sultan blogs about a recent exhibition of works by Ad Reinhardt at David Zwirner Gallery, New York.
Sultan writes that the exhibition demonstrated "the range of Reinhardt's output, his piercing intelligence, and his sharp eye... Thirteen of [of Reinhardt's 'Black Paintings'] are gathered in this one room of the gallery, skylit so you can look at them in natural light. You can't just glance at these paintings, you have to spend a long time quietly looking at them in order to see what is there. In a way, this is Reinhardt's most subversive achievement, much more than any of his barbed cartoons: he forces us to slow down, to contemplate, to have a visual experience of the highest order, one of experience and discovery; for me there was a kind of longing, a search for pure essence."
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.