Jennifer Samet interviews painter Carrie Moyer whose exhibition Sirens is on view at DC Moore Gallery, New York through Mar 26, 2016.
Moyer comments: "What is political about my painting, if we can even say that, is that it is experiential. They are abstractions based on my own history, even though they address the history of 20th-century painting, or at least certain parts of it. I’m also positing ideas about pleasure — both pleasure for me, and pleasure for the viewer. This feels decadent right now, because it is not about the work being a commodity, it’s about the pleasurable experience of looking. Hopefully the paintings operate at degrees, meaning people who aren’t involved with the history of painting can get something out of it. I’m not interested in intellectual opacity or 'enlightening' the viewer. I’m going for beauty, seduction, and play — a physical experience, an optical experience. However, my first audience, the one I’m thinking about in the studio, is always other painters and people involved in the history of painting. What dialogue am I in with painters from the past? I think about painting in terms of the politics of who is making it, and when it gets made. For instance, isn’t it interesting that we are living in this moment when there are a lot of prominent women abstract painters? This is very unusual."
Zachary Keeting and Christopher Joy visit the studio of painter Annie Lapin.
Lapin shows her recent paintings which achieve a delicate balance between found and willed form. Having been inspired by cave paintings, she combines a rorschach-like technical approach with a sensibility for creating complex images that results in compositions that feel specific, surprising and alive.
Fowler writes that "this exhibition provides a rare opportunity to see a range of work drawn from some forty years’ output of an artist who was involved in most of the major European abstract art movements of the 20th century, and who spent his whole career exploring how “pure” art (art without external content) could be produced from a geometric vocabulary of lines, squares, triangles, squares and circles... in all his work, Vodemberge was concerned to achieve visual balance within an asymmetric composition, while at the same time avoiding rigidity."
Kitty Caparella reviews works by Ken Kewley at Gross-McLeaf Gallery, Philadelphia, on view through February 26, 2016.
Caparella writes that in these recent works Kewley "uses the spirograph, a fancy name for the plastic geometric stencil, to make circles, stars, and curves. It’s a device used by architects and children alike... In 'Large Still Life I,' a 24-inch square painting, what appear to be flowers sit on a table near a window with a tree on a clear day, yet patches of color represent the floor, walls and table legs —all vertical. The foreground image is a bricolage of shapes so chaotic and colorful it creates a stormy center for which the dark, flat, Matisse-like tilted floor and Byzantine patterning in the background is the calm."
Butler writes that in Parlato's new paintings "dense geometric spaces, sloppy translucency, and highly saturated color of previous work have been gently nudged aside by opaque pastel color, the introduction of modeling paste for thickness, and the airy aesthetic of 'incompleteness.'"
Zachary Keeting and Christopher Joy visit the studio of artist Mandy Lyn Ford.
In her artist statement Ford writes: "My paintings are remnants of my life, tactile diaries. I beat them into submission by working them over and over and over; laying them on the floor, and dragging them, and applying and unapplying, cutting into and copiously giving to. They become strong and tuff and solid. I treat them aggressively until they prove they are worth being paid attention to and softly labored over. And sometimes the loving touches cause them to fail and have to begin again."
Patrick Neal reviews an exhibition of recent paintings by Sharon Butler at Theodore:Art, Bushwick, Brooklyn, on view through February 14, 2016.
Neal writes: "Butler has ... been a practitioner and proponent of a style of painting she dubbed 'The New Casualism,' which she characterizes as 'the rising inclination of artists to explore the metaphorical implications of failure, imperfection and imbalance—the artistic significance of the off-kilter and the not quite right.' Butler’s new body of work, on view at Theodore:Art in Bushwick, might then surprise visitors, who enter the gallery and find it filled with mostly compact, sturdy, and resolved paintings. Taking in the richly evocative color and touch of the individual works, a viewer can scan the room, noting and cross-referencing how marks and visual elements are reimagined in different compositions... The colors and spaces she depicts come across as on-the-spot observations of places or things, or memories and inventions that appear to evolve, the paintings recording change."
Malone writes: "Ryman’s work is often spoken of in terms of a pronounced quietude, but a full appreciation of its extended roots—effectively accomplished in the two Dia shows—can enrich the experience... The Chelsea show concentrates on color, highlighting the artist’s early development of his exclusive and by now signature choice of white paint. The Beacon show concentrates on his attentiveness to the ambient light that has such a profound effect on a viewer’s experience of the work. The Chelsea show echoes formal concerns similar to those of early modernism, while the Beacon show seems to touch upon that period’s infatuation with spirituality, a phenomenon that was itself a revival of a much older aesthetic."
Bacon writes that "[Black] made this series by working from projected JPEG reproductions of paintings that he first produced at a small scale the summer prior. The color is inevitably off in these cast images, and the size has become non-specific, because it is no longer tied to the act of painting that originally produced the images within the boundaries of a canvas of certain dimensions. The same is true of the yoking of short stories with various paintings as a means of titling them in a form of disjointed ekphrasis, since the narratives are unrelated to the works. By negotiating these factors, Black unwittingly introduces a perverse system that has enabled him to push this body of work forward by way of new coloristic and formal relationships that did not exist in the original works—specifically a morphing and pulsing of forms within a tightly controlled two-dimensional plane, like amoebas oozing and flowing across a petri dish."
Yevgeniya Baras interviews painter Matt Phillips whose exhibition Comfort Inn is on view at Steven Harvey Fine Art Projects, New York through February 6, 2016.
Phillips comments: "For me, paintings are roughly equal parts body and mind. There is the seeing, thinking, and responding aspect of painting. And the other half is so physical -mixing, touching, pushing, scraping. I like seeing how this polarity of the body and the mind co-exist in a picture. I want my images to have one foot on the surface of the support and the other through it... [the paintings] basically start with a grid. They are initially rational and systematic. The grid is non-memetic and denies perspective. In a way, the paintings begin by excluding the natural world and a lot of potential subjects. But that becomes something that I get to paint in relation to - a point of departure. I change things and, eventually, maybe the work evokes a form or a light or a space. I like that pivot, when the painting starts to regard something outside of itself - something unexpected arrives."
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.