Butler writes: "Halley’s strict visual language is clear enough and his political underpinnings are well documented. Yet his nine enormous paintings, with the shifts in the shapes, sizes, and configuration of their three primary geometric elements, also seem to embed a subtle narrative about his personal confrontation and accommodation of the political and social evolution his paintings more overtly reflect. So perhaps the most remarkable achievement of Halley’s work is its seamless fusion of political and personal content. His formalism pulses with life itself."
Sultan writes: "Bannard's color is unique and surprising. In the exhibition ... there are pinks and warm reds and cool greens, and all colors confound expectations with their pleasurable seriousness. After all...pink? When I think of a great painter using pink, Philip Guston comes to mind; in his works pink becomes a subversive color. Bannard's pink isn't brash and saturated, but subtle; it looks like a mixed hue. The circle sits solidly in its field, perfectly balanced, slightly above the midpoint of a rectangle slightly taller than square. The pink becomes transcendent."
Garwood notes that "Simonian demonstrates a genius for color, texture, and the exploration of spatial conundrums. Twenty canvases, worked in acrylic, range in size from a mere eight by ten inches to as much as six foot by five with subject matter that cycles between categories of comparable breadth. There are what I’d describe as optical-illusion still lifes, domestic interiors, travel theme — on earth and in space, and nature studies. It’s a roomy, mixed bag of themes... Simonian’s paintings ... knit luscious pictorial fields that tease cognition, along with the senses."
James Kalm visits the exhibition Post Analog Painting at The Hole, New York. The show includes works by Trudy Benson, Mariah Dekkenga, Robert Otto Epstein, Mark Flood, Jeanette Hayes, Adam Henry, KATSU, Misaki Kawai, Jonathan Lasker, Rachel Lord, Neil Raitt, Josh Reames, Joe Reihsen, Nathan Ritterpusch, Michael Staniak and Matthew Stone.
Kalm notes that the show "is an interesting counter pose to MoMA's 'The Forever Now,' both shows presenting casts of artists who are dealing in some way with our current digital/internet world."
From the press release: "'Post-Analog' is meant so suggest that the paintings in this show were not even conceivable before digital imaging changed the structure of our images. Sure, we erased things, but not the way the 'erase tool' erases. Items at shallow depth leave shadows but not the standardized way a drop-shadow filter does. Focus and resolution exist in emulsion photography but the way that paint is applied in this show has more in common with low-res JPEGS and pixels-per-inch."
Ashley Garrett interviews painter Brenda Goodman about her work and career. Goodman's recent paintings are on view at Life on Mars Gallery, Bushwick, Brooklyn, through April 19, 2015.
Goodman remarks: "I don’t get in front of a painting and think I’m going to be open or I’m going to be vulnerable or I’m going to be light or I’m going to be pretty or I’m going to be sad, it’s so who I am to the core. What I don’t like about work is when I look at it and there’s a wall between me and it. And that’s what happens when I do the intensives with people who have creative blocks, that wall is going to disappear the wall between the painter and the viewer. Everyone comes from a different place and there’s great things in the different ways people work. But I can always spot when someone has this wall. I strive in my work to have no wall between my painting and the person looking at it. You should want to be seen! I mean, what’s the point, what’s the wall for? Who are you? Be vulnerable! When people see my work it feels real to them, it’s not bullshit, it’s from the heart, there’s no barrier between me and them. When you meet me, who I am is what you get. I don’t have that kind of facade."
As part of the Backstory series, Andrew Baron reflects on his work. Baron's solo exhibition Welcome Fellow Travelers is on view at R.Jampol Project(s), New York through May 10, 2015.
After years of incorporating text in his paintings, Baron writes that in his recent work: "I abandoned the use of text in my painting, but not without some sacrifice. The text pieces had a factual coolness that my current work lacks. The current works have an emotional content that is a bit less dry, making their execution more straightforward, if no less difficult. They also may be more difficult to decode. But that’s something that I can live with (for now)."
Ken Carpenter profiles Canadian abstract painters Jack Bush and Jock Macdonald. The retrospective of works by Jack Bush will be on view at the Art Gallery of Alberta, Edmonton (May 30 - August 23, 2015.) and Jock Macdonald: Evolving Form is on view at the Robert McLaughlin Gallery, Oshawa, Ontario (through May 24) and will travel to the Art Gallery of Greater Victoria (June 12 - September 7, 2015).
Carpenter writes: "Both Bush and Macdonald began their careers oriented towards the landscape painting of Canada’s iconic Group of Seven (the subject of an exhibition at the Dulwich Picture Gallery in London from October, 2011 into January, 2012). Macdonald’s In the White Forest (1932), with its obvious debt to Lawren Harris, is a case in point. For each of them an important step forward from that rather parochial, highly nationalistic group to an international outlook and the challenges of modernism was involvement with a version of automatism."
Yau writes: "There are few contemporary artists who can make a convincing narrative painting, one that doesn’t devolve into a mere story. Brenda Goodman is one of them. Her densely packed surfaces convey a state of both claustrophobia and relentless pressure. In some paintings, the linear geometric elements define a precarious balance, a sense that everything could topple, but somehow doesn’t. According to a recent conversation I had with Goodman, she starts out by painting a network of lines on a smooth, prepared panel. She goes on from there, opening herself to the shapes evoked by the negative spaces. Painting seems to be as much a form of divination as a way to dig up painful memories, bringing into focus the difficult tremors and disturbing experiences we all deal with."
Christopher Michno profiles painter Liat Yossifor whose exhibition Eight Movements is on view at Ameringer | McEnery | Yohe Gallery, New York through April 18, 2015.
Michno writes: "Yossifor’s gray paintings are most easily identifiable in connection with AbEx and the New York School. She advances the idea that as she makes large gestural sweeps with a palette knife, or even small, incisive gashes in the surface of the paint, she imbues the painting with some kind of emotive meaning. She shies away from associations with Lucio Fontana, who slashed his canvases, but there is more than a hint of trauma in her works. They encrust both a battle with the medium and within herself."
Yau writes: "In an age of signature gestures and stylistic branding, artists who change and, more importantly, are able to expand the possibilities of their work are few and far between. The most obvious difference is that in his current show DiBenedetto has mostly jettisoned the symbols of the helicopter, octopus and Ferris wheel that routinely showed up in his work. But he has also become more open to impulse and spontaneity ... DiBenedetto has become more of an abstract painter and less of a symbolist ...It strikes me that what he has done is go back in time in order to move forward, looking at the work done by Jackson Pollock, Gerome Kamrowski and Charles Seliger between 1940 and ’46, before Pollock’s so-called breakthrough, as well as the dark, mud-colored impasto paintings done by Jean Dubuffet in the late 1940s and early 1950s."
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.